Island Hopping
Gabriel Evan Orchestra
Independent n/a (gabrielevanorchestra.bandcamp.com/album/island-hopping)

This is New York saxophonist Gabriel Evan’s third album and continues his investigation of delightfully retro genres from the context of Caribbean jazz. When I first heard Island Hopping it brought to mind Earl Bostic, the American alto sax player who played a combination of jazz, swing and jump blues from the 30s to the 60s. Evan’s primary instrument is soprano saxophone and his “orchestra” has Charlie Halloran on trombone, Josh Dunn (guitar), Kris Tokarski (piano) Pete Olynciw (upright bass) and Jafet Perez (drums and percussion). All the tunes are lively and delightful and many date from the 30s (such as Carmencita, a classic Lionel Belasco waltz) while two are Evan’s originals. In the latter group, Boychick Calypso is a playful shuffle full of sophisticated energy and delightfully melodic solos while Habana Hammock is gently relaxing as its name suggests. Island Hopping’s upbeat swing is infectious throughout and you cannot help but smile from beginning to end.

Cuckoo
Lemon Bucket Orkestra
(lemonbucket.com)

There is so, so much exciting world music performance energy in Toronto-based Lemon Bucket Orkestra’s fourth release. Together for 14 years, their ensemble playing has paid off again, as they cleverly combine powerful Ukrainian folk polyphony, driving Balkan rhythms, Klezmer and such modern Western music elements like punk to create their sound.  

The 11 tracks feature LBO’s modern arrangements of traditional folk music and original compositions. Opening track arrangement of Shchedryj Vechor, a traditional Ukrainian folk song, opens with bright singing and accented ends of phrases. Drum crashes and horn held notes and a short horn solo leads back to opening repeated singing. Title track Cuckoo draws on two Ukrainian folk songs, with whispered speaking female vocals. Energy galore comes from violin against background repeated horns, background screaming/talking, back to fully orchestrated sung melody. Unexpected clapping to repeated horn solo and quieter vocal quasi screaming. Big crash ending with screaming backdrop. Two tracks – original Mik Mik and traditional Ukrainian Da Ishly Divky – showcase special “feature” Macedonian master trumpeter/arranger Nizo Alimov from Kočani Orkestar. Petrunino combines traditional Bulgarian folk and Irish jigs and it is astounding how well these two culture’s music combines. Fun violin combines Irish, a bit of jazz, Bulgarian folk for a completely new musical genre.

Lemon Bucket Orkestra is pushing the boundaries of traditional world folk music to great success, giving it a new sonic future while still respecting the original song. From intense, loud sounds to groundbreaking genre arrangements to free sections, it is party time!

Lullabies After Storms and Floods
Parade
Elastic Recordings ER013 (paradetoronto.bandcamp.com)

Their press release states that Parade “is an experimental pop-rock trio based out of Toronto, Ontario featuring Stefan Hegerat (drums, compositions), Chris Pruden (synthesizers) and Laura Swankey (vocals, electronics)” who draw on “their diverse backgrounds in jazz, classical and electronic music” to combine “improvisation and composition to create unique and immersive sonic landscapes.” Their latest album Lullabies After Storms and Floods demonstrates an eclectic and exciting mix of slightly dissonant melodies, electronic sounds which invade and regress, sweeps of drums and precise but almost emotionless vocals. 

The Bridge begins quietly with a soft vocal (”What moved her to cross the bridge that night….”) and builds into a more epic rock piece with some swirling drums, before returning to the opening mood. The Basin begins with a “marimba” repeating a minimalist pattern for over two minutes before it abruptly shifts to a standard rock beat with Swankey singing “In the basin, where tender thoughts coalesce… trapped in stillness, my heart is on ice…”. The vocals are eventually replaced by the recurring minimalist rhythm but with different instrumentation. Other pieces contain jazz influenced sections (the opening to Frozen Portrait deliciously evokes a late-night jazz singer and the piano work is subtle and warm). The mixture of vocals (with vibratoless and slightly dissonant melodies) and changing moods and genres, make Parade an intriguing and fascinating band and this album succeeds in producing many “immersive sonic landscapes.”

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Towards the Light
Les Arrivants
Independent (lesarrivants.com)

This is the second release from acclaimed Montreal-based instrumental ensemble Les Arrivants. Musicians Amichai Ben Shalev (bandoneon), Abdul-Wahab Kayyali (oud) and Hamin Honari (percussion) each moved independently to Montreal during COVID, where they met and started making music together. Their 2022 first release Home resounded with their personal, resettlement and expertise of styles like tangos, classical Arabic music, traditional Persian rhythms, contemporary and improvised music. Here their development artistically expands in inspirational sounds.

Each musician is also a composer, arranger and improvisor. Phoenix Landing is Les Arrivants’ “short but sweet” conversational improvisation featuring bandoneon swells/lines, oud runs and drum rhythms. The title track is a group improvisation with guest Didem Basar (ganoun) that has touches of atonal melodies, strums, faster lines leading back to tonal short uplifting melodies. Each instrumentalist is equally memorable.

The opening track City of Ashes is composed by Honari. A Held note begins the piece moves to faster, rhythmic, dance along, happy tune touching on different styles; colourful instrumental answering back and forth, accented chords and held note swells illuminate the unique sound. Shalev’s composition Bagelissimo (Miles End Tango) has original yet traditional-based tango bandoneon, drumming bangs keeping it together along with guests Reza Abaee (ghaychak) and Pierre-Alexander Maranda (double bass). Kayyali’s Hayrah (Confusion) opens with a sad oud melody above bandoneon held notes/vibratos, then faster happier two instrumental leads with emotional cymbal splashes. Guest composer/arranger/bass clarinetist Charles Papsoff is featured on Apatride.

Les Arrivants mesh countless stylistic musical sounds together in perfect performances.

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Air Cake and other summery occupations
Catherine Cary
Orchard of Pomegranates (catharinecary.bandcamp.com/album/air-cake-and-other-summery-occupations)

France-based American Catherine Cary has had many careers including economist, visual artist, story writer, improviser and performer. During COVID she would phone her nephew and improvise quirky children’s stories. Orchard producer Ayelet Rose Gottlieb suggested adding music to them. Here Cary energetically tells/improvises/sings nine of her children’s stories for all ages about three young children – Leila, Grecian and Manu – on an adventurous French beach summer vacation. Playful, spontaneous, tight, free improvised music by Montrealers Eric Lewis (cornet, bass clarinet, percussion) and Eyvin Bamford (drums, percussion) complement the stories.  

Daisy Day opens with drums, then matching percussive rhythms to energetic speaking from loud to almost whisper. Loud speedy cornet during the going home segment softens to high note at home ending. Lazy Day is their tired day after collecting daisies. Cornet held note and intervals interspersed with more dynamic spoken words build to closing softer “you are just quiet” with distant drum roll ending. Climbing the Rhune features rock drumming and rhythmic spoken words, with a few almost sung, about the three going out for walk to incredibly tired back home hilarious loud boom crash ending. Contemplative Air Cake has wind sounds, pitched clarinet and drums backdrop to “I want to make cake but there is nothing in the house, nobody went shopping. It is all air.” High pitched atonal sounds and drums build and get softer to the final closing cymbal hit.

Be prepared to be “blown away” by this unbelievable, funny, one-of-its-kind release. Multiple listenings increase the joy! 

Mountain Air
Harry Bartlett
(harrybartlett.bandcamp.com)

Canadian guitarist and composer Harry Bartlett grew up in the Pacific northwest, studied jazz guitar at the University of Toronto and currently lives in Nashville. I reviewed his superb album Wildwood when it was released in 2023. Streaming and digital releases have become commonplace so releasing an “album” no longer means the standard 30 to 40 minutes of music. This increased flexibility allowed Bartlett to spend an afternoon in Toronto playing and recording the contemplative and exquisite Mountain Air with Aline Homzy (violin) and Andrew Downing (upright bass). All three pieces are original compositions and are presented with a delicacy combining classical, string band and jazz elements. Trail Song has elegant solos from all three players and the music is both percussive, up-tempo and expressive. A Sun Beneath the Clouds is slower and more sombre, and Eagle River seems to be the most folk influenced of the three. Mountain Air works well as an EP-length contained suite; Bartlett’s compositions exquisitely balance the guitar, violin and bass and all three players contribute their subtle performances. I’m happy Bartlett did not wait to release Mountain Air as part of a larger project.

Chasing the Sun
Colin James
Stony Plain SPCD1499 (stonyplainrecords.com/colinjames)

This is exciting music by renowned Canadian blues singer, songwriter and guitarist Colin James in this, his 21st release. Many famous guests also perform and compose here with James in seven blues/rock originals and four covers. 

Opening Protection grabs one’s attention as James (electric guitar, vocals) Colin Linden (electric guitar), Darryl Jones (bass) and Charlie Drayton (drums) perform energetic grooves, and James is joined by legendary singer/songwriter Lucinda Williams who co-wrote the tune. A contrasting quieter vocal verse leads to a loud chorus with backup singers Ann and Regina McCreary, instrumentals, guitar solos and James’ wailing vocals to upbeat ending. Instrumental Devilment, composed by Linden and Paul Reddick, starts with repeated descending guitar lines and drums. An elaborate harmonica solo by guest Charlie Musselwhite follows and gradually becomes syncopated bluesy swing and morphing into classic closing bass line and final drum crash. 

In My Own Dream by Paul Butterfield is a trio with James and Linden on guitars and Janice Powers on keyboards. This song has slower close ensemble playing with James singing, guitar flourishes and reflective feel. Closing track Open Your Mind by James and Tom Wilson is a group performance with James’ clear vocals and words, interest boosting Drayton drums, straightforward James and Linden guitars and Jones bass instrumentals, and McCreary backup vocals. Colourful performance to gradual decrescendo softer ending and fade to James’ closing words. 

James’ amazing musicianship keeps developing new blues sounds and Chasing the Sun is fun, energetic blues-to-rock music.

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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Temporal Waves
Temporal Waves
People Places Records PPR | 051 (peopleplacesrecords.bandcamp.com)

Montréal-based Shawn Mativetsky, one of Canada’s foremost tabla players, is an accomplished performer of Hindustani classical music and a sought-after tabla educator. He’s equally at home in genres as diverse as world music, jazz, pop, composing and performing for dance and theatre productions and working with contemporary Canadian concert composers. Nicole Lizée, Tim Brady and Dinuk Wijeratne have all included his tabla playing in their work.

Featuring production and performance contributions from Jace Lasek (Besnard Lakes), the eponymously titled Temporal Waves reveals yet another side of Mativetsky’s musical persona. Here sonic atmospheres are dominated by retro analog synthesizer sounds and aesthetics, by drum machine and electronic effects, all framing his masterful tabla playing.  

Rooted in Mativetsky’s demoscene community involvement in the 1990s, Temporal Waves is a touching nostalgic look back to his youthful days steeped in the DIY electronic music scene that congregated around “tracker” software and the music of early video games. All these features are reflected in the album, with Mativetsky’s un-ironic tabla upfront in the mix, and skillfully integrated musically too. 

Listening to Temporal Waves occasioned numerous surprises. Luminous Objects for example is in a five-beat rhythmic cycle outlined by a delightful diatonic sequenced melody, while the next track is in seven. Importantly, both odd meters give plenty of opportunity for tabla displays.

Mativetsky was a member of the Montreal group Ramasutra 25 years ago, and recently has collaborated with live coder David Ogborn. This attractive new release is yet another step in his Indo-electronic journey, one which has substantial crossover appeal.

Migrant Voices
Itamar Erez; Hamin Honari
Independent (itamarerez.com/itamar-hamin-duet)

Free improvisation requires trust and understanding, qualities not often found within long-held national political divides, and yet this is very much present in the music made by Israeli-Canadian guitarist Itamar Erez and Iranian percussionist Hamin Honari on Migrant Voices.   

The opening track, Departure, defines the difference and commonality between Erez’s accomplished guitar and Honari’s finesse on the tombak (Persian hand drum). With nods to Spanish and classical western styles, Erez’s guitar leads Honari’s drum in a counterbalanced union. 

The title track, Migrant Voices, the only composed work, displays in Erez’s hands, Middle Eastern elements and sounds I associate with the oud, while adding western classical trills and ornamentation. It takes the migrant on a wandering journey over hills and through valleys requiring attention to the path. Honari’s drumming enriches the landscape, while suggesting its dangers.  

After its slow opening Embrace, one of the strongest tracks on the recording, finds a delicate interplay when Honari’s drumming enhances Erez’s expressive lead. The multiple turns and transitions surprise and delight and occasionally recall the American John Fahey’s always inventive improvisational guitar fingerpicking. 

Another highlight, Forgotten Sands, offers a Spanish style bolero where Honari’s finger drumming leads the dance and Erez’s guitar provides elegant pomp and flourish in their combined movement across the majestic dance floor. 

Throughout the excellently produced recording the musicians bring together two nations under one music-making roof and speak with understanding and coherence.

Comfort Food
Kiran Ahluwalia
Independent KM2024-1 (kiranmusic.com/music)

The idea that multiculturalism can become a bloated kind of tribalism is not a stretch. You only need to experience what happens when the serpent of nationalism strikes at the heel of rainbowed societies that have long since lived harmoniously. Kiran Ahluwalia sings of this phenomenon, born of her painful experience living in India, and Canada as well. As she lifts her voice to a characteristic, existential wail, painting a disturbingly beautiful tapestry woven from the threads of conflict in the universal confrontation between religious faith and political torment. 

She calls her album of songs Comfort Food because she lends her poignant voice to each song, the heart of which beats most affectingly in slow pulsating movements which she shapes in the doleful blend of Sufi arias made up of impassioned lyrics. As on previous albums masterfully created with her husband, the extraordinary guitarist and producer Rez Abbassi plays with meticulous diligence, placing his focussed, wailing sound, velvety fluency and acrobatic vibrancy at the service of his wife’s eloquently sculpted music. 

Ahluwalia treads nary a wrong step, bringing together Abbassi and a full complement of brilliant Canadian journeymen including multi-instrumentalist Louis Simao, accordionist Robbie Grunwald, bassist Rich Brown, tablachi Ravi Naimpally, drummer Davide DeRenzo and percussionists Mark Duggan and Joaquin Nunez. Every light-fingered performer is keenly responsive to Ahluwalia’s outpouring of lyricism, especially on the wonderfully mystical Ban Koulchi Redux co-written with Algerian Souad Massi.

Nadah El Shazky – Les Damnes Ne Pleurent Pas
Nadah El Shazky; Various Artists
Asadun Alay Records (asadunalayrecords.bandcamp.com)

The British-Moroccan independent film director Fyzal Boulifa released his latest film, Les Damnés ne Pleurent Pas (The Damned Don’t Cry) in 2022. Already the winner of several awards, it is scheduled for release with English sub-titles in the near future. The music for the film was created by the Cairo-based composer, producer and vocalist Nadah El Shazly, and the vast majority of it is performed by a trio consisting of violin, double bass and electronically modified harp played by Nicolas Royer-Artuso, Jonah Fortune and Sarah Pagé respectively; El Shazly provides the vocals on one track, Adi. 

For a gritty mother-son drama set in Morocco, one might expect the film to feature some plaintive, evocative, Arab-scented music and you will find some lovely, complex examples of that on such tracks as Mausoleum, Haircut and End Credit. Special mention here goes to El Shazly’s deeply satisfying vocals on Adi and to beautifully effective moments where some non-Western tuning turns the harp into a sort of folk instrument. There are other tracks, however, like Claustrophobic Love and Fight with Auntie, that get quite darkly disturbing with Fortune’s expert bass roaring away like a raging bear. I’m a big fan of music that walks the line between strangeness and beauty and I’m sure these tracks work well in the context of the film, but just for listening, they’re pretty challenging. Still, you’ll find much interesting and evocative music on this disc, beautifully played and branching out in so many satisfying directions. I look forward to watching the film.

Editor’s Note: Montreal’s Asadun Alay Records is the brainchild of noted producer-musician Radwan Ghazi Moumneh and Amélie Malissard of act·art·mgt. The label was launched in late 2022 with Safala by acclaimed Lebanese electronic music producer, DJ and performer Liliane Chlela.

The Curious Badger
Marc van Vugt
Baixim Records BR F533 (marcvanvugt.com)

Many music fans can listen to a great deal of acoustic guitar without realizing how distinctive these instruments can be. For example, I’ve played several acoustic guitars for friends who are surprised by the differences among a mid-sized Collings OM (“orchestral model”), a larger Martin dreadnought or a 1956 Gibson archtop. Marc van Vugt pushes these acoustic differences to a very happy extreme with The Curious Badger, where he lists the nine guitars used on the album’s 12 tracks. 

The title piece features aggressive and rhythmic strumming on a Guild 12-string, showcasing its bold and open sound. Back to the Market Square is slower and sweeter, featuring a Lowden baritone guitar, which has a gorgeously full resonance. Black Belt has many exciting and jazzy runs and features van Vugt’s overdubbing of two guitars: a nylon string and an archtop. This piece is a virtuoso work with the guitars switching from rhythm to lead and several runs are played together adding to the excitement. Van Vugt is an excellent guitarist and each of the pieces is unique and compelling. It is a bonus that the album credits contain the complete list of guitars and tracks so that we can truly appreciate each instrument’s unique sonic properties.

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