Darn, That Band
Eric St-Laurent; Chendy Leon; Magdelys Savigne; Calvin Beale
Independent (eric-st-laurent.bandcamp.com/album/darn-that-band)

Excellent arrangements of timeless classics. Patient, cyclical grooves that subtly develop and then find their way back home. A four-piece band where half the group plays percussion and the other half plays percussively. Dedication and faithfulness to the originals that will leave familiar listeners satisfied, but also a penchant for exploration and experimentation that allows for catharsis from unexpected places. 

Take for example, what El Cumbanchero metamorphoses into leading out of Magdelys Savinge’s conga solo. As guitar and cajon syncopate each other’s syncopations, all three instruments coalesce into one wall of sound, building in density but not noise. After this hushed swell hits a certain point, Calvin Beale comes in with three chromatic bass notes, and a new cycle is born, as the synthetic becomes merged with the acoustic once and for all. 

This consistent interplay, decisiveness and willingness to embrace dissonance makes for an equally engaging exercise in exactness and freedom. Because of all the percussion and rhythmic playing it feels like every inch of the time feel spectrum is always accounted for, but never in an overbearing way. It also feels like there are multiple ways to listen to this, and they’re all equally fruitful. If one allows themselves into a trance, they will emerge in a completely new location. If oneclosely listens the whole way, they will glean an entire universe. Also, the end credits (Darn Credits) are hilarious, and a wonderful touch. 

Christopher Parnis – Everything You Could Be
Christopher Parnis; Brian Dickinson; Christian Antonacci; Matt Greenwood; Aaron Blewett
Independent CDP001 (christopherparnis.com)

Young Peterborough-born double-bassist Christopher Parnis has quickly and steadily climbed the ladder within the jazz world in these past few years. Once you’ve performed and recorded with the likes of Reg Schwager, Robi Botos and Terry Clarke, I think it’s quite safe to say that you’ve made it. And so, this latest recording by Parnis shows just what he’s capable of, not only as a composer and musician but also an accomplished bandleader. Featuring a stellar lineup with musicians such as Brian Dickinson on piano, Matt Greenwood on guitar and Christian Antonacci on trumpet and flugelhorn, there’s no doubt regarding the high calibre of Parnis’ compositional talents. The entire album is loaded with original works penned by the bassist himself, as well as his bandmates. 

Canadian jazz legend Don Thompson has praised the record highly, calling it, among other things, “hauntingly beautiful.” There’s really no better way to describe the essence of these tunes, how they meander through jazzy soundscapes that differ from note to note. From contemporary jazz to a more traditional sound, this album has something for everyone. Take Opportunity for example: the moving drum rhythms of Aaron Blewett accompanied by a soaring horn melody doubled up by the electric guitar is just the right balance of nostalgia and modernity that appeals to many. A highly recommended addition to the collection of any jazz aficionado looking for a foray into the world of contemporary jazz.

Hold on to Me
Marie Goudy’s Paloma Sky
Independent (mariegoudy.bandcamp.com/album/hold-on-to-me)

Debut recordings can be haphazard; a slew of disparate ideas held by a slender thread and nary a cohesive theme. But certainly not Hold On To Me, a beautifully crafted vivid love letter, as if written from one character to another, where both characters come alive. It is no matter that there are subplots with secondary characters entering the landscape, it makes for a brightly coloured and multi textural soundscape. 

There may be more viscerally exciting contemporary ensembles around, who write and perform more daringly imaginative original work. But in Paloma Sky the wonderful Marie Goudy (vocals, trumpet, compositions) leads a group of musicians who are unfailingly musical. And where others may dazzle with gratuitous pyrotechnics Paloma Sky replaces such musical egotism with compelling narrative performed with deeply lyrical intensity. 

Goudy leads with poetics redolent of exquisitely sculpted phrases, often rendered in molten curved shapes. The basis for all of this are her compositions themselves, which radiate heat from characters who are cast in the slow burn of emotional warmth. Vocalist Jocelyn Barth makes these stories come alive as if she has lived them herself. She and Goudy give thoughtful interpretations that allow the space for musicians – pianist Stu Harrison, bassist Nick Arsenault, drummer Andrew Scott (and saxophonist Alison Young on Mexico) – to excavate rich details of articulation and tone colour. The producing hand of the celebrated Elizabeth Shepherd is felt everywhere.

A Change of Pace
Greg Amirault Trio
Independent (gregamirault.bandcamp.com)

Greg Amirault is a Montreal based jazz guitarist and A Change of Pace is his fourth album as leader; it contains six original compositions and three standards. One of this album’s strengths is how well Amirault plays with the other members of the trio (Adrian Vedady, bass and Andre White, drums) partly because they have been hosting a weekly jam session in Montreal for over a year.

I am immediately impressed by the clarity of Amirault’s tone whether he is swinging, voicing gorgeous chord solos or playing lyric melodies. All the jazz pieces are performed with assurance and style by everyone in the trio. Two originals stand out: Ballade pour La Butte is a beautifully rendered folk-influenced homage to the Acadian village where Amirault grew up and Ancestral Roots which is similarly inspired by his Acadian and Aboriginal roots. Both works offer a space for Vedady to present his sensitive solo bass playing. The top-notch performances, the mixture of standards and original jazz tunes, plus the folk influences, make A Change of Pace a unique and engaging album.

Portrait Landscape
Jeanette Lambert; Various Artists
Independent (jeannettelambert.bandcamp.com/album/portrait-landscape-2)

The liner notes say “my biggest fans are visual artists,” and that makes perfect sense. Lambert is a painter with words, every quiver of her voice, and these incredible suites of endlessly rewarding concepts and dazzling stylistic convergences, illustrate this. Everything from the phrasing to the melodies feel like they’re conversational, existing almost independently from their surroundings and yet also such an integral piece of the landscape.

Frankly, one might think their computer is glitching, they accidentally opened another tab, or they’re hallucinating by the time the programmed drums (and the spoken word of Lambert’s young son beamer!) come in on Away from the Wildfire, but Lambert is expertly striking that delicate balance between discordance and harmony, in a way where the listener knows deep down that the image fits together, even if they have not adjusted their gaze quite yet. This dream-like, hyper specific balance feels like something entirely unique to Lambert’s music, and yet it permeates this entire album. There are lyrical gems that will give you pause, especially out of context, (“air-conditioner looming like a benevolent robot” is a wildly hilarious bar that is also incredibly evocative). If you follow the vignettes Lambert sketches, every breath, emphasized syllable and illustration feels incredibly meaningful. Each room feels inviting and lively, the shifting perspectives colouring in all the lines around us. The instrumentation has a simultaneous lushness and intimacy to it, allowing for gaps unfilled while letting every emotion hit like a truck.

Laila Biali – Wintersongs
Laila Biali; Jane Bunnett; Venuti String Quartet; chamber orchestra
Independent (lailabiali.bigcartel.com/product/wintersongs)

Just in time for you-know-what, Laila Biali has released Wintersongs, a gorgeous, contemplative ode to Canada’s downtrodden season. Born out of a retreat at the Banff Centre for Arts and Creativity that the talented singer, piano player and songwriter went on in November 2021, the album is very much a product of its environment with most of the songs being studies of snow and wind and pine trees.

Resplendent with strings courtesy of the Venuti String Quartet and a 20-piece chamber orchestra led by Rob Mathes (Sting, Bruce Springsteen) and with Biali’s warm, pure vocals floating over top, the reverie is real.  

There are a few heart-starting moments to snap us out of our trance, though, as Keep on Moving, with a guest choir, amps things up midway through the album, before returning us to our winter wonderland. A standout track for me is Winter Waltz, a gently lilting instrumental with an Argentinean vibe, thanks to Drew Jureka’s bandoneon work. We also get a taste of Christmas as the album closes out with a wonderful chamber-jazz instrumental take on Jesus, He is Born a.k.a The Huron Carol featuring the great Kevin Turcotte on trumpet. 

With this lovely album for company, even diehard winter-haters might learn to embrace the season.

Colin Fisher – Suns of the Heart
Colin Fisher
We Are Busy Bodies (colinalexanderfisher.bandcamp.com/album/suns-of-the-heart)

Enchanting. Mesmerizing. Hypnagogic. Enveloping. Warm. Stunning. Of course, stunning is what happens when the finished product we are left with is itself a love letter to the artistic process that birthed it. The facts (from Bandcamp): multi-instrumentalist Colin Fisher and engineer David Psutka went into the studio, Fisher did live improvising, looping, layering and sampling, they bounced wonderful ideas off each other and this is the result. That is all I need, because despite many of these sounds being absolutely unlike anything else that has entered my ears, I oddly do not desire to know where they came from or how they were created. That they are here, that one person generated them live and that they were ultimately the result of a partnership in their current form is a gratifying enough answer in itself. 

This music has so much allure to it, so much intricacy, so much to pull from, that the limits of descriptive language immediately make themselves known. One could try – one could talk about the gut-wrenching distorted guitar melodies on Deus Absconditus sounding like the broken broadcast transmission of stomach tissue being torn apart, pitched to the melody of an uncannily familiar lullaby that has never been played before. The most warped moments sound like angels, the click-clacking of the keys on Fisher’s horn sound like heartbeats, everything feels like it’s being held up by the most fragile material, yet everything will forever remain suspended in air.

Breaking Stretch
Patricia Brennan Septet
Pyroclastic Records PR35 (pyroclasticrecords.com/release/breaking-stretch)

Having demonstrated her skills in solo and quartet settings, Mexican-American vibraphonist/marimba player Patricia Brennan ups her game further by adding a horn section and electronics to her highly rhythmic program. The voltage boost is used sparingly, mostly to extend the brassiness of Adam O’Farrill’s trumpet leads and add oscillating whizzes to the mallet instruments. However, layering trumpet and saxophonists Jon Irabagon and Mark Shim’s reed riffs broaden the foundation of Brennan’s compositions further, defined by the billowing crunch of Kim Cass’ bass, Marcus Gilmore’s drums and Mauricio Herrera’s percussion.

Unlike a standard Latin-Jazz romp, refined writing and arrangement means that, for instance, on the title tune an emotional tenor saxophone break surges into multiphonics while doubled with metal bar pops that eventually dominate the sound field on top of unrelentless idiophone smacks. Or on Five Suns, O’Farrill’s mariachi-like blasts evoke similar cries from Irabagon’s alto sax, both balancing on wave form squeezes and unvarying hand percussion.

Earendel, the final track, wraps up the session with slackening horn bites and slurs which put finer points on the initial sympathetic electro-acoustic double bass and vibes harmonies. This too pinpoints the program’s dexterity, since, especially when she resonates woody marimba echoes, Brennan, and to a lesser extent Cass’ string solos, evoke relaxed sequences which frame in bolder relief more frenetic motifs. 

Without making her nine compositions too dainty or too dissident, the expanded band helps stretch Brennan’s musical approach in a sophisticated fashion.

Golden City
Miguel Zenon
Miel Music (miguelzenon.bandcamp.com/album/golden-city)

Grammy-winning alto saxophonist, producer and composer Miguel Zenon has just released his 16th recording as leader, an epic suite inspired by the diverse culture and political evolution of San Francisco – stretching from pre-Spanish Colonialism to the contemporary tech boom of today’s Silicon Valley, commissioned by SF Jazz and the Hewlett Foundation. The creation of this historically significant project propelled Zenon into extensive research that embraced explorations into the Indigenous Mexican population of California, the infamous 1882 Gold Rush, Asian migration, prison camps filled with ethnic Japanese American citizens and more. The recording is comprised of ten interconnected movements, and Zenon’s talented line-up is superb. 

First up is Sacred Land, a stirring, brass-laden tribute to the Indigenous Ohlone people, whose proud descendants are still living among us today. Diego Urcola’s trombone solo here scales the potent musical landscape, bringing to mind our ancient, shared DNA. Acts of Exclusion is an unsettling piece that disrupts the very question of human life and security. Informed by the Chinese Exclusion Act of 1882 (which prohibited the immigration of Chinese laborers into the United States) Zenon’s solo reflects the injustice and immorality of such an act – musically twisting in the wind above raging political forces. The heartfelt ballad, 9066, revisits the shameful incarceration of nearly 120,000 Japanese Americans, two thirds of whom were U.S. citizens. Matt Mitchell’s stark piano lines in counterpoint with Chris Tordini’s facile bass encapsulate aspects of this horrific expression of xenophobia and paranoia. 

The closing track, Golden is a powerful, bitter-sweet post-lude inspired by the concept of “The Golden Ratio,” and is not only a superb display of brass dynamism, but also places focus on the incomparable rhythm section of Mitchell, Tordini and Dan Weiss.

Brian Landrus plays Ellington & Strayhorn
Brian Landus
Blue Land Records BL202301 (brianlandrus.com/albums/brian-landrus-plays-ellington-and-strayhorn-download)

There are precious few musicians who have the taste, skill and creative vision of low woodwind specialist Brian Landrus. With the release of his latest creation, not only has Landrus selected 14 sumptuous compositions from the immortal Duke Ellington and his frequent collaborator Billy Strayhorn, but he has also manifested his own embodiment of Ellington’s lush orchestral sound – replete with stunning arrangements featuring his performances on his cornucopia of instruments, including baritone and bass saxophones, bass and contra alto clarinets, piccolo, C melody as well as alto and bass flutes. Joining Landus here are noted guitarist Dave Stryker, accomplished bassist Jay Anderson and iconic drummer Billy Hart. This fine complement of collaborators (including two guest arrangers) accompany Landrus on his journey through some of the most complex compositions in the history of jazz.

The opener is the rarely performed Agra. Exotic percussion from Hart and mystical reed lines plumb the lower depths and also transport the listener into the outer stratosphere with perfectly placed, flute driven tonal clusters. An absolute standout is Chelsea Bridge. Composed by Strayhorn, this haunting melodic line floats through bop modalities and extended woodwind lines in contiguous synergy with a fine, swinging baritone solo. Also superb is A Flower is a Lovesome Thing, on which Stryker renders a moving guitar solo rife with sensitivity and intriguing harmonic choices, all the while substantiated by Anderson’s sonorous, satisfying bass lines. Also exceptional are the Bossa Nova infused Daydream, and the closer, Sophisticated Lady, which finds Landrus alone, with his unique bass saxophone interpretation.

Fine production, timelessness of the compositions, innovative arrangements and musicianship par excellence make this one of the most original and compelling jazz recordings of the year.

Inside Colours Live
Julie Sassoon; Lothar Ohlmeier; Mia Ohlmeier
Jazz Werkstatt JW 244 (jazzwerkstatt.eu/jw-244-inside-colours-front-rgb)

Musical families are no novelty; neither are family bands. Yet this two CD set allows us to hear the slight redefinition of one clan’s band as progeny adds burgeoning talent to an established group. British pianist Julie Sassoon, who composed all 13 tracks here, has lived for many years in Berlin with her German husband, tenor and soprano saxophonist/bass clarinetist Lothar Ohlmeier. Working together or singly in other groups, they’ve been praised for their sophisticated music that stretches conventions while avoiding sonic tumult. As a duo they aptly demonstrate that skill with a set of languid, meditative and impressionistic performances recorded during a live concert in Regensburg that make up the first CD. 

Recently the duo has expanded to a trio, as their 19-year-old daughter Mia Ohlmeier has become an accomplished drummer. The second CD, recorded at the Berliner Philharmonie, was at that point the largest venue at which the three played together. Perhaps it’s because of Mia’s rhythmic instrument or perhaps her youthful exuberance, but the five trio tunes appear more energetic. Sonic provocation is mixed with pastoral themes. Sassoon’s textures are sometimes more vigorous as she hums along with her thoughtful keyboard improvisations, and Ohlmeier more often than elsewhere sticks to lower tones as he projects thick tenor saxophone slurs and sinewy bass clarinet smears.

This is a notable introduction to the group. Future releases will hopefully fully define the partnership as will discs with Mia sans famille.

Crazy Talk
Howard Gladstone
Sonic Peace Music SP000221 (howardgladstone.bandcamp.com/album/crazy-talk)

Toronto-based singer-songwriter Howard Gladstone’s eighth release is a 12-track recording showcasing his mature clear vocals, poetic storytelling lyrics in jazz to world to folk to rock music. He is joined by his core band members bassist Bob Cohen and guitarist/co-composer/co-producer Tony Quarrington, frequent pianist/vocalist Laura Fernandez and six other musicians.

Title track Crazy Talk, co-written with Quarrington, is a subtle tribute to Patsy Cline, the Beatles and Robbie Robertson. This lighthearted, jazzy country tune features a Quarrington guitar solo, Cohen bass solo, Fernandez back up vocals and Gladstone singing his witty lyrics like “That’s crazy talk… but then again, I’m crazy too.”  

Latin/world music references resonate in Little Bird where Jacob Gorzhaltsan’s birdlike flute trills, tweets and high pitched melodies accompany Gladstone. Oh, the Waters is multi-section with colourful guitar and accordion echoing. Irish Rain is a rollicking Irish drinking song held together by drum taps and Gladstone’s classic vocals. 

Longtime fans and new listeners alike should enjoy this hopeful, timeless Gladstone release.

Listen to 'Crazy Talk' Now in the Listening Room

Digno, Sophisticado Y Elegante
Jay Danley
Independent (jaydanley.bandcamp.com/album/digno-sophisticado-y-elegante)

Canadian composer and musician Jay Danley is a multi-instrumentalist with a passion for Cuban music. He has performed with Jane Bunnett, members of Buena Vista Social Club, and can be heard on recordings by Hilario Duran.

On Digno, Sophisticado Y Elegante, Danley takes you in spirit to eastern Cuba, where 19th century Spanish and African-influenced music and dance come together in a collection of original compositions that feature the tres, a three-course string instrument central to the Son Cubano tradition. On this ambitious self-produced instrumental recording Danley plays all the instruments.

 In the slow dance opening track, Adiós Al Ayer (Goodbye to Yesterday) the delicate sound of the tres almost whispers as it recalls times past, and is reminiscent of the ache felt when listening to Duran’s interpretation of Mirame Así (Look at Me Like This), on which Danley plays. El Pasado Seacabo (The Past Is Over) takes us further into rural Cuba charming us with its graceful melody. This is small-setting music that is never rushed nor calls attention to itself. 

On Guapachou Danley exceeds expectations by featuring the tres with a jazz improviser’s virtuosity. The tres follows multiple lines flying chromatically over the slow-moving chords. The single take tres solo is masterful. At the same time, amidst all this music mastery, one is left nostalgic for a time when the limitations of sampled horns and multitrack home recording was not required to bring engaging new music to the world.

Kanzafula – Afro Iraqi Sufi Music
Ahmed Moneka
Lula World Records LWR042A (ahmedmoneka.com)

Since being forced to flee Baghdad as a refugee after acting in a gay rights film in 2015, Iraqi actor and artist Ahmed Moneka has continued to share his bright light in film, art and music. His first album Kanzafula reflects his African, Iraqi-Arabic history to his eventual landing in Toronto, using poetic lyrics to describe his journey through three wars in Iraq and his continued activism. With his smokey, expressive vocals, Moneka gives his all to these songs, a flavourful collection of Arabic melodies infused with Afro grooves, soul, jazz and rock. The album wishes for love and peace during the often-fraught experiences from home countries at war, but even with the heaviness of some of the lyrics, the album remains joyous and uplifting. 

The song Aman opens the album with a rock/funk vibe, asking us to keep safety and connection to our hearts, and to spread hope and love. Chil Mali Wali is a traditional Iraqi song in a melodic maqam, a protest song of British colonization from the 1920s. The song Sea is inspired by Afro-Arabic rhythm that defies sitting still. Khitar: ‘The Guest’ is a song dedicated to Indigenous Canadians and features Moneka’s silky bass vocals and jazz-flavoured chorus and solos from the band. 90 Days shares Moneka’s love of his home Iraq when he returns for a short period to work and is a gem of solo voice and instrumental. Oh Mother is a great blend of Maqam and rock and feels like party music, where Treed Trooh? is a funky slow meditation on separation. The album closes with Sidi Mansure, a traditional Tunisian ecstatic trance song that really drives one to dance. 

Each track of the album is captivating, even without the lyrics, but the reward of reading the translations only deepens their reach, and solos from the top-notch band really bring them home.

Michael Cloud Duguay – Succeeder
MC Duguay; Various Artists
Watch That Ends the Night (michaelcloudduguay.bandcamp.com/album/succeeder)

Glorious and gorgeous, Succeeder lives up to its name as it includes a community of musicians to make Michael Cloud Duguay’s songwriting and compositions explode in sonic splendour. The liner notes on Bandcamp (and on the artist’s website) provide a fascinating history of these songs and Duguay’s musical and life journey and I will not attempt a summary except to say it all makes for a rich and diverse background to this unique production. 

A Very Fine Start begins the album with the rhythm section and a warm pedal steel providing a beautiful backdrop along with a female background singer. Amidst the lyrics about family and circumstances instruments are added, including a fine baritone sax solo, over the evocative soundscapes. Someone Else’s Blues has a funkier and soulful up-tempo beat with a horn section and harmony vocalists. Port Hope begins more delicately with a tremolo guitar, pedal steel and arpeggiated piano backing things up. There are 17 performers listed and the instruments include drums, bass, piano, vocalists, pedal steel, saxophones, percussion, guitar, flutes, jaw harp, accordion, hurdy-gurdy and pocket trumpet to list only a few. I would like the vocals to be mixed more clearly, but it is also fascinating how they blend into the orchestration and emerge as spots of insight. 

The artist’s website declares “the album continues to mine the sumptuous, expansive rootsiness of Duguay’s earlier albums, yet also gestures toward the more outward experimentation of several of his upcoming projects through its careful, yearning ambiences.” I cannot improve on that description because the feeling of Succeeder with its evocative ambiences, its blending of folk, jazz and experimental idioms, and the joy of the Peterborough musicians who helped create this work are all important to its expansiveness. Please sit in a quiet place and let this album embrace you for a sumptuous 45 minutes.