Tidal Currents: East Meets West
Winnipeg Jazz Orchestra
Chronograph Records CR-109 (winnipegjazzorchestra.com/cd-details---tidal-currents--east-meets-west)

Tidal Currents: East Meets West is the latest offering from the Winnipeg Jazz Orchestra. It’s the seventh release by this ensemble, and fits beautifully into their catalogue without sounding derivative or too similar to their previous recordings. Composers Jill Townsend and Christine Jensen provide the repertoire, based on themes from their respective upbringings on the East and West coasts of Canada. United in the landlocked geographical center of the country, the WJO gives a slick and polished performance of pieces by both composers, featuring soloists from the group as well as Jensen on soprano saxophone. 

“Short but sweet” is the best way to describe Tidal Currents, at a runtime of just under 30 minutes. If the group had decided to add an additional track or two, they would not be unwelcomed, but after several listens through the album in its entirety, I’m not left feeling owed anything either. We have gone from an era of 70-plus minute CDs to one focused more around singles and EPs. Whether this programming choice was deliberate or not, Tidal Currents might just be the perfect length to satiate the modern attention span. 

It is an impressive feat that the album’s four tracks alternate composers while still functioning together as a suite. This is a testament to both the ensemble playing, and visions of the composers. There is unity throughout an organic set of music, but ample contrast to keep listeners engaged. Albums may be getting shorter, but this means us listeners have no excuse not to digest statements like Tidal Currents in their entirety as intended.

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Horns of Hope
Aimee-Jo Benoit; The New Assembly
Chronograph Records (chronographrecords.com/releases/horns-of-hope)

Calgary-based jazz vocalist/composer, Aimee-Jo Benoit has just released her sophomore recording – a compelling, highly creative collection of music that is a joyous celebration of some of her most seminal influences including songs from Canadian luminaries kd lang, Joni Mitchell, Leonard Cohen, Daniel Lanois and Sarah Harmer. Benoit’s voice is a warm, rich, sonorous instrument – and like a fine violin, and through her masterful communication skills, she is capable of transporting the listener to any emotional plateau desired. Joining Benoit on this exceptional recording are a fine Calgary-based ensemble, including arranger Carsten Rubeling on trombone, Mark De Jong on tenor saxophone and trombone, Andre Wickenheiser on trumpet and a tight rhythm section comprised of bassist Jon Wielebknowski, keyboardist Augustine Yates and drummer Dan Gaucher.

The eight-track programme (including one original from Benoit) kicks off with Barefoot, filled with powerful horn lines, dynamic rhythms and a pitch-pure, velvet-like vocal, which wraps itself around every part of lang’s lyrical poetry, and Rubeling’s innovative and stirring horn-infused arrangement is nothing short of magnificent. A dynamic solo from Wickenheiser is a highlight, as well as the stripped-down coda. 

Other delights include a refreshing take on Mitchell’s Little Green, infusing the tune with jazz elements that would delight Mitchell. Goucher’s gorgeous bass work holds this beautiful tune lovingly in his hands. Harmer’s notable You Were Here is presented in the stark resonance of De Jong on baritone, eventually joined by the full ensemble. Benoit sails through and above everything – gracing all with a brush of the wings of her magnificent voice, her skills and her taste.

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Fatrasies
François Houle; Kate Gentile; Alexander Hawkins
Victo cd 137 (victo.qc.ca)

Three masters of the improv craft from three different countries confirm not only creative music’s universality but also how so-called abstract music can be as definitive as any other. Each of the five instant compositions blend American Kate Gentile’s restrained drum pops and rumbles, the UK’s Alexander Hawkins’ refractive pianism ranging from meditative to mauling and Canadian François Houle’s output from two clarinets and electronics that encompasses textures ranging from hissing trills to bagpipe-like drones.

Used sparingly to amplify tones, electronics underline Houle’s versatility since by playing both clarinets at once or dismantling them for extra timbres he produces distinctive sounds from the near opaque to free-flowing. Not to be outdone, Hawkins creates immediate responses to either player’s musical thrusts. For instance on La petite bête he doubles his speed to intersect with the clarinetist’s rappelling up the scale. On Tart ara mon cueur, as blowsy basset clarinet tones widen and intensify, the pianist moves from gentle clinks to splayed percussive pedal action. Gentile responds quickly as well and hard thumps plus cymbal colours join the piano patterns to properly frame Houle’s dual clarinet output so that it becomes moderate and linear.

There are numerous instances of the interaction flowing the other way such as electronic whizzes meeting piledriver piano runs or hollow-sounding reed flutters extending an a capella piano introduction.  The (so-far) shared democratic heritage of these countries could serve as a metaphor for how well these three interact.

Crayonnage
Brûlez les meubles
Tour de bras/Cicrum Disc 900070cd/microcidi 035 (tourdebras.com/album/crayonnage)

Proof that quiet improvising can be as compelling as faster, louder music comes from this Québecois quartet. Based around the harmonies and broken-chord narratives of guitarist Louis Beaudoin-de la Sablonnière and electric bassist Éric Normand, Jonathan Huard’s vibraphone pings further embellish the 12 tunes while drummer Tom Jacques’ whaps and slaps keep the pieces fluidly linear.

Reflective and relaxed are the adjectives applied to most tracks as guitar strings soar, echo and frail, matched in lockstep by bass strokes. Nonetheless calm shouldn’t be confused with casualness. Tunes like sous les assauts du soleil reveal the drama and emotion that goes into such systematic strategy. Ringing guitar/bass chords showcase and then relax the pressure that initially creates this mixture of light and dark tones. Regardless, it’s the brief empattement which fully defines the entire band’s sympathetic connection. While initial guitar twangs and thumping bass responses suggest the group is heading towards Metal, Jacques’ use of mid-range clips not backbeats confirms the quartet’s creative non rock music stance.

The concluding extended group improv estompes substantiates this. Atmospheric and expressive, Normand’s use of electronics for backing rustles and a looped pulse allows Beaudoin-de la Sablonnière to add a sitar-like echo and ratcheting frails to his tone variations, as the vibist and drummer speed up the backing with temperate textures that are decorative without being delicate. 

The moderation expressed on Crayonnage may draw in and be a pleasant surprise for those who eschew improv.

Accidentals
Don Fiorino; Andrew Haas
Independent (american-nocturne.bandcamp.com/album/accidentals)

Don Fiorino (guitar, glissentar, lap steel, bass, banjo, lotar, mandolin and more) has collaborated for over two decades with Andrew Haas (saxophone) and Accidentals is their third album. Each of the relatively short pieces is a freeform investigation of experimental sound collaborations. Talismanic has percussion (could be a pot banging) with a stringed instrument (could be a bass or low tuned guitar) and the saxophone uses mostly the altisimo range. But it really grooves and its trance-like determination drags you along. Phat Flutter contains a lot of fluttering saxophone sounds with a few multiphonics thrown in over percussive strings. 

All the pieces successfully create unique universes in their short durations and also include humour. They seem to be implying: life is short so push the envelope. Obscure fact: Haas, who spends most of the album using only extended techniques, is the same saxophone player who can be heard on the 80s hit Echo Beach (by Toronto’s Martha and the Muffins). He has expanded his playing in amazing ways over those decades. Fiorino comes up with a truckload of sounds from a wide assortment of stringed instruments and constantly provides esoteric but infectious grooves. Accidentals is inventive, fascinating and very deliberate.

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Heart Trio
William Parker; Cooper-Moore; Hamid Drake
Aum Fidelity AUM118-2 (aumfidelity.com)

Cereal Music
William Parker; Ellen Christi
Aum Fidelity AUM119-2 (aumfidelity.com)

The words “ancient to the future” may sound like a Zen Koan to those befuddled by their meaning. However, it describes William Parker perfectly because of all the musicians alive today – and many no longer with us – no one but Parker seems to travel back and forth through the music continuum; an earthling making music in a glorious arc between earth and sky traversing back and forth between Mother Africa and the Americas, Europe and the near and far east. Indeed, Parker is a musician unlike any other, cut from an artistic cloth, both ancient and modern. 

I have listened to these two recordings – Heart Trio and Cereal Music – intermittently for several weeks, and the capacity of Parker’s music to linger – to evolve inside the inner ear once the sounds themselves have breathed their last – leaves a nourishing post-listening afterglow.

As a card-carrying, dyed-in-the-wool member of the William Parker (the composer) fan club I confess to also being a longtime subscriber to his belief in Universal Tonality (also a two-disc recording dedicated to this concept, released on Centering Records in 2023). In notes to that recording that are characteristically enigmatic and mystical, Parker writes that “When a feather falls and touches the ground music begins. Nothing is said. There are no keys, no chord changes, modes, or notations… we speak different languages, but we feel each other. The music guides us. All we have to do is listen. All we have to do is feel. The sky, mountains, and trees all understand Universal Tonality and they always have.” He also sees “…many musicians carrying all kinds of musical instruments. From all over the world.” And so on, as he lures you into his musical manifesto.

Parker also “plays” – as he puts it – “inside the rainbow.” This is far from delirium. It is the voice of a griot and a shaman rolled into one. His music poses existentialist musical questions such as those raised by John Cage’s 4’33”, Parker’s music privileges active listening over hearing. 

As multi-instrumentalist and poet who often recites his verses, Parker’s recording Heart Trio includes two like-minded musicians. One is the percussion colourist Cooper-Moore (playing ashimba and hoe-handle harp), and the other is the frame drummer Hamid Drake, who also sits in on a drum set. The resulting music is the epitome of Parker’s conception of Universal Tonality. 

Employing the West African doson ngoni (a stringed instrument made of wood or calabash) that stands in for the bass, a bevy of flutes and the double-reed bass dudek, Parker weaves often amorphous melodic, harmonic and rhythmic lines into the colourful percussive sounds issued by Cooper-Moore and Drake. Thus, we meet Five Angels by the Stream, wraith-like and ephemeral. The blaring cityscape in Serbia co-exists with the glacial quietude from its countryside. We also meet personalities such as Japanese trumpeter Toshinoro Kondo and legendary drummer Rafael Garrett in portrait pieces. The celebratory Afri-centric Processional brings this remarkable recording to a close, but not before we might feel the music pulsating from inside the heart itself.

The recording Cereal Music is a metonymic feature for Parker and Ellen Christi, both of whom recite – Parker also chants bringing his velvet tenor to bear on his idiomatic poetry – and both serve up the music as if on an edible table of plenty. Parker also returns to playing the contrabass, and an array of flutes. The portraits of the late tenor saxophone player Kidd Jordan and Sonny (for the retired tenor saxophone titan, Sonny Rollins) are timeless. Parker’s recitation and instrumental connective tissue melts into Christi’s atmospheric sound design. Elsewhere on this 15-track set, on Birth and Death chromatic notes sigh, but the harmonic cushioning rarely falls where you anticipate. The pinnacle – to my mind – is We Are Very Civilised with his Afri-centric rhythms, propelled by the shimmering chimes of the Moroccan qraqeb – a large iron castanet-like musical instrument primarily used as the rhythmic aspect of Gnawa music into which the musicians expertly gravitate. By now, we realise that Parker is also immersed in the gnawa tradition of Morocco, drawing a very willing Christi in his wake.

7th Avenue South
Jon Gordon
ArtistShare ASO229 (artistshare.com/projects/experience/?artistID=64&projectId=533)

There are precious few first call jazz artists who have not only paid their professional dues, but who have also developed their own unique sound, compositional skill and a style that is informed by (but not derivative of) the giants of jazz that have influenced them. Jon Gordon is one of those amazing individuals and is one of the leading lights of the alto and soprano sax. Gordon’s latest offering is a love letter to the vibrant Greenwich Village jazz scene of the early 80’s, a time where you could saunter down the street to the Village Vanguard, Sweet Basil, Bradley’s, the Knickerbocker and, of course, the Brecker Brothers’ 7th Avenue South. 

This fertile area was ground zero for the jazz world. Young Gordon was a witness to this seminal scene, and it shaped and molded the skilled saxophonist that he was then and is now. Additionally, the personnel on this recording has been well selected, and every track is exquisite. Aside from two tunes, all compositions here were written and arranged by Gordon – who now influences young jazz musicians as a professor at The University of Manitoba.

The opener, Witness, draws the listener in with a contrapuntal vocal section, which turns into an almost melancholy motif, rife with emotion. Will Bonness on piano and the thrilling work of percussionist Fabio Ragnelli and bassist Julian Bradford complete the haunting intro, which segues into the title tune, a complex, swinging arrangement involving the entire complement. Also outstanding are Ed’s Groove and the thought-provoking Visit. Gordon’s alto solo here is luscious and complex, as is the work of exquisite trumpeter John Challoner. The boppish Spark is also a treat, as is the brilliantly written and executed reprise of the title tune. A triumph!

Hendrik Meurkens – The Jazz Meurkengers
w/Ed Cherry; Nick Hempton; Steve Ash; Chris Berger; Andy Watson
Cellar Music CMR080824 (hendrikmeurkens.bandcamp.com)

There’s just something charming and captivating in the mellow, reedy timbre of the harmonica that instantly reels in the attention of the listener. Renowned harmonicist Hendrik Meurkens shows his incredible skills once again on his latest release. Not only does his very apparent love for the instrument shine through clearly, but his compositional talent is also showcased on several of the tracks. This record is also special because it is the debut of his new project “The Jazz Meurkengers,” featuring longtime musician friends such as Ed Cherry on guitar, Steve Ash on piano and Chris Berger on bass. Supported by a stellar band, the album is full of refreshing energy and creativity where each musician has the opportunity to show their talents. 

What really makes this record unique and interesting is the mellow, sultry tone within the tunes. Achieving a completely smooth, connected sound from the harmonica is a truly tough endeavour; legendary Toots Thielmans and Meurkens are among a small group of jazz harmonicists that have ever been able to achieve that feat. Adding to the quiet energy and allure of the album are the pleasant riffs of Cherry and soaring saxophone melodies of Nick Hempton overlaying Andy Watson’s driving rhythms. The record also features a touching, bluesy tribute to Thielmans in A Tear for Toots, where the sadness felt for the loss of the celebrated musician is thoroughly expressed in Meurkens’ sorrowful harmonica line.

Time Again
Benjamin Koppel; Brian Blade; Anders Koppel
Cowbell Music 89 (cowbellmusic.dk/products/koppel-blade-koppel-time-again-cd)

Sunny mid-summer days call for scorching rhythms and sizzling melodies to get your feet moving. This latest release by famed group Koppel-Blade-Koppel brings just that to the table, a perfect musical accompaniment to vacations and parties alike. Featuring the all-star musical father-son duo of organist Anders Koppel and alto saxophonist Benjamin Koppel with the addition of renowned drummer Brian Blade, each piece is elevated to new musical heights. With the exception of one, all tracks are penned by the Koppels, making this a delightful compilation of new tracks. If you’re on the hunt for fresh music that gets you grooving and also delves into your emotions, this is the album for you. 

The record is incredibly multi-faceted, with both thoughtful pieces interspersed with rhythmic tunes and a certain contagious energy running throughout. Right away, the first song Puerto Rican Rumble starts with an infectious bass groove that doesn’t let up during the duration of the piece and combined with Blade’s continuous rhythms and riveting saxophone melodies, makes for a positively bopping piece. In contrast, If You Forget Me takes it down a notch, with Koppel Jr.’s bluesy, soulful sax line just tugging at the heart strings and creating a beautiful, melancholy soundscape. What makes the record such an incredible musical journey is that it manages to both feel new and like a nostalgic throwback simultaneously. A hark back to different times, bringing that complexity and emotion into today’s world.

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Being Human
Lynne Arriale; Alon Near; Lukasz Zyta
Challenge Records CR 73572 (lynnearriale.com/shop/being-human-1)

Luminous pianist, composer and arranger Lynne Arriale has graced the stages of the most prestigious temples of jazz throughout the world and with the release of her 17th recording, Arriale is joined by internationally renowned musicians, bassist Alon Near and drummer Lukasz Zyta. Ten moving and insightful original compositions are included in this jazz suite, with Arriale having taken inspiration from remarkable individuals such as environmental activist Greta Thunberg and Nobel Peace Prize Laureate Malala Yousafzai, as well as from positive human qualities and the variety of emotions and needs that we all share – musically and etherically eclipsing the “great lie” of human separatism.  

First up is Passion dedicated to Thurnberg. This arrangement is rife with youthful enthusiasm, tinged by the melancholy of the high emotional price that young people can pay for their dedicated, nascent mono-vision, having connected with their pure, focus-driven path early on. Written by Arialle for the Human Race, Love is stunningly beautiful, and a reminder of how unique every soul is and that the potential for illumination resides in each one of us. Arriale’s playing here embraces both the contrapuntal aspects of a classical composition, as well as a refreshing purity and simplicity. Near and Zyta are in a rarefied communicative state with Arriale, at once supportive and creative, imbuing each nuance with their individual sound and skill.

Highlights include the free Curiosity, dedicated to autistic mathematician/physicist Jacob Barnett, where universal mysteries and chaos are plumbed. The swinging Soul (dedicated to Amanda Gorman, National Youth Poet Laureate) is a groovy, rhythmic trip that not only features a hard-driving four from the rhythm section, but Arriale’s dynamism and encyclopedic knowledge of the bop canon. The suite closes with a reprise of Love utilizing “voices” on the Yamaha Clavinova, which underscore faith in humanity and a mutual commitment to unity and a brighter, inclusive future.

Evolver
Bruno Raberg Tentet
OrbisMusic OM1323 (brunoraberg.com)

Music – especially the music called jazz – is always an evolutionary process. So having workshopped this music for a considerable period, its shepherd, Bruno Råberg rightfully, albeit whimsically, called its recorded iteration Evolver. Listening to it being played by the ace alliance he calls the Tentet you will be beckoned seductively by the dramatic twists and turns of each piece on this record. 

Plunge in then as if you intended to discover the secrets of the source of the music, as if it were the water of life to its composer. The technical aspects of this music – arranged for ten performers who read exceedingly well – is one way to regard the music of Evolver with its six individual pieces and the final four-part work, The Echos Suite. However, penetrating the skin of the music to mine its secrets is more spiritual, shamanic and ephemeral.

In ephemeral terms the wellspring for Råberg’s compositions are perceived as shamanic affirmations translated into musical synchronicities. The melodies, harmonies and rhythms are signs he is doing precisely the right thing at the right time. This is how his labyrinthine melodies flow into harmonious tributaries and eloquent and complex rhythmic variations. 

Thus, Råberg marshals his musicians through a masterful expansive musical odyssey; Greek myths (Peripeteia, Erbus and The Echos Suite), the Swedish countryside (Stilytje) and with Mode Natakapriya, through the diabolical complexities of the South Indian music tradition.

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Live at Smalls
Jack Walrath; Abraham Burton; George Burton; Boris Kozlov; Donald Edwards
Cellar Music CMSLF008 (jackwalrath.bandcamp.com/album/live-at-smalls)

Devotees of the titan of music and musical successor to Duke Ellington, Charles Mingus, will remember trumpeter Jack Walrath from Me Myself an Eye (Atlantic, 1979), from the final era of Mingus’ epic oeuvre. That album began with Three Worlds of Drums, the bassist’s composition for large ensemble with two bassists and three drummers. Why remember Walrath? It was the trumpeter who gave wings to Mingus’ idea for the work, which the bassist “…noodled into a tape recorder,” said Walrath.  

Many years after that epic recording, a wizened Walrath made what I believed to be his finest recording. Invasion of the Booty Shakers (Savant, 2002), with the brilliant vocal gymnast, Miles Griffith. That recording began with Walrath’s iconic piece, Black Bats and Poles, a work that graced Mingus’ album Changes Vol. Two (Atlantic, 1974). Having his song immortalised on a Mingus album says a lot about Walrath, the trumpeter. Mingus didn’t simply “pick” trumpeters, he bonded with the best. (Remember Johnny Coles, and the great Clarence Shaw?)

Like those men, Walrath is an artist of the first order, a master of his instrument. He shows us just that on this brilliant recording Live at Smalls. He is a player of remarkable virtuosity and expressive élan. He announces his compositional provenance especially on the erudite Grandpa Moses, and the brooding Moods for Muhal. Saxophonist Abraham Burton, pianist George Burton, bassist Boris Kozlov and drummer Donald Edwards interpret Walrath’s compositions with idiomatic brilliance.

Peni Candra Rini – Wulansih
Peni Candra Rini
New Amsterdam NWAM185 (newamrecords.org/albums/wulansih)

Indonesian vocalist and composer Peni Candra Rini is a specialist in the art of sindhenan, a style of solo female Javanese gamelan singing most often performed with gamelan ensembles. She was mentored by renowned Javanese composer Rahayu Supanggah (1949-2020), a pioneer of experimental gamelan music whom I had the pleasure of meeting years ago at his Surakarta home studio.

Looking beyond the conventional role of the sindhen, Rini has developed a practice which embraces experimental vocalise, dance and video – along with a unique approach to composition. I recently heard her work performed by Kronos Quartet in Toronto. Rini’s eight-song album Wulansih effectively layers traditional Javanese and experimental music in several ways. 

With lyrics by Javanese musical innovator Andjar Any, the love song Jenang Gula is arranged in a gamelan-influenced hybrid “string band” genre called Langgam Jawa. Rini renders the song with warmth, effectively accompanied by guitars, percussive cello, bass – and a supportive Moog synthesizer.

Prominent on several tracks is the pinjo, a plucked chest resonated stick zither which produces subtle acoustic overtones and phasing effects. Uncommon on records, it’s eloquently played by American ethnomusicologist Andy McGraw. On Esamu it pairs superbly with background synth bass drones and washes. This acoustic-electronic texture serves as background for Rini’s intimate voice, counterpointed by I Gusti Putu Sudarta’s reverb-bathed distant vocals.

I don’t want to give the impression that Wulansih is only about unusual instrumentation and novel music hybrids. Rini’s professed goal for her music is “to give love through sound with sincerity.” Mission accomplished.

The Thunder and the Bay
Lori Cullen
(loricullen.com)

Fun fact: last year, Lori Cullen was hired to perform at Drake’s Christmas party, along with piano player Aaron Davis, and Drake posted a brief video clip of them performing to his Instagram account with its gazillion followers. I’m not sure if that experience had an influence on the direction Cullen has gone on this new album (I suspect not), but it is decidedly more “poppy” than the singer/songwriter’s usual blend of folk and jazz on her previous eight releases. 

Not that that’s a bad thing, especially when it’s as artful as The Thunder and the Bay is. For this project, Cullen has teamed with James de Pinho, an EDM-style producer and songwriter. Filled with electronica, the ten tracks that make up this latest album take us on a chill trip through sounds that evoke the dramatic Northern Ontario landscape that inspired the project. Despite the departure from her usual style, this is still very much a Cullen album, with her pretty and emotive vocals at the centre of the tracks.

A few favourite “sophisti-pop” bands came to mind while listening, such as Everything But the Girl and Zero 7, especially on Feel You First with its acoustic guitar (samples?) and actual cello courtesy of Kevin Fox and Into the Wood which features trumpet player extraordinaire William Sperandei. Other musicians who add to the dreamy soundscape are Rich Brown on bass and Thom Gill and Kurt Swinghammer on guitars. Swinghammer, who is also a noted visual artist, provided the stunning artwork for the cover and videos.

That Place, Darling
Heather Macdonald; various artists
Independent (heathermacdonald.bandcamp.com/album/that-place-darling)

Heather MacDonald’s debut album, That Place, Darling, is a captivating musical journey that skillfully blends the delicate tones of the oboe with vocals, guitar, ukulele and piano. Thematically employing the emotions of autumn, the album explores the poignant sensations of holding on and letting go.

Heather MacDonald demonstrates her versatility and technical proficiency throughout the album. Her oboe performances showcase both lyrical beauty and adventurous exploration with techniques like gentle glissandos and multiphonics. Beyond the oboe, MacDonald’s talents extend to vocals and ukulele, adding layers of richness and diversity to the musical landscape. The collaboration with guitarist Nathan Corr and pianist Asher Farber enhances the album’s dynamic range, contributing to its engaging and whimsical atmosphere. Together, they craft a unique musical experience that is both intimate and evocative.

The repertoire of the album is eclectic and thoughtfully curated, featuring works by Louis Jordan, Reena Esmail, Alyssa Morris, Chelsea McBride, Johnny Green, James Pecore, Jean Coulthard and an original composition by MacDonald herself. This diverse selection not only highlights MacDonald’s interpretative skills but also underscores her commitment to exploring a wide range of musical styles and influences.

Overall, That Place, Darling is more than a debut album; it is a testament to MacDonald’s artistry and creativity. It invites listeners into a world where emotions are vividly expressed through music, making it a memorable and enriching musical experience.

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