Introducing…
Hogtown Brass Quintet
Independent (hogtownbrass.com)

This short disc (23 minutes) by the Hogtown Brass Quintet reinforces my enthusiasm from their concert last year at Yorkminster Park Baptist Church’s Lunchtime Chamber Music series. As the name suggests, these Hogtowners combine excellence with wit, in a tasty six-piece program featuring compositions and arrangements by trombonist RJ Satchithananthan. His inventive, Spanish-inflected Solea and bluesish Stray Goat avoid clichés of their styles, taking off in unexpected directions as the latter’s title suggests. As a composition student I was advised not to use “too much tuba” in a brass quintet. Tubist Andrew Nowry belies that nostrum with well-controlled dynamics and endurance in Solea and an exuberant solo in Stray Goat.

The setting of Bewitched, Bothered and Bewildered features Satchithananthan’s own lyrical trombone. With light syncopated staccatos and interlocking accompaniment figures from trumpeters Tristan Tye and Matthew Ross, Nowry’s agile tuba bass line and Jason Austin’s sustained horn background gluing it all together, this is fun and first-rate work. An arrangement of Mascagni’s Intermezzo from Cavalleria Rusticana by Satchithananthan works surprisingly well because of the players’ sensitive shaping of melodies distributed among instruments.

Of two pieces arranged by others, J.S. Bach’s difficult Contrapunctus IX from The Art of Fugue sounds well on brass, but there are a few places where intonation or evenness could be better. After the disc’s close with an affecting A Nightingale Sang in Berkeley Square, I was left awaiting more from the Hogtown Brass Quintet!

Blue Verdun
Quinn Bachand’s Brishen
Beacon Ridge Productions CP102 (quinnbachand.com)

Quinn Bachand is an old soul in a 21-year-old body. Or maybe he’s a time traveller from the ’30s who’s simply (and successfully) channelling the gypsy-jazz souls of Django Reinhardt and Stéphane Grappelli. Whatever the case, Victoria, BC’s multi-talented, multi-instrumentalist Bachand is a seriously impressive young artist.

Blue Verdun, Bachand’s second album with his group, Brishen, is an unabashed celebration of all things swing, and a showcase for Bachand’s exceptional musicianship and versatility. With Bachand on  violin, guitar, banjo, bass guitar, lapsteel and vocals, along with Brishen bandmates Connor Stewart (horns), Maude Bastien (drums), Paul Van Dyke (bass) and Béatrix Méthé (vocal harmony), Blue Verdun takes us on a magical romp through the musical landscapes of gypsy jazz and Western swing.

Remarkably, save for one track the tunes are all Bachand’s – inspired, fresh takes on old traditions, demonstrating a profound respect for that marvellous music of “yesteryear.” Moreover, Bachand clearly relishes this stuff and, as is apparent on every track, is determined to help keep it relevant and alive. The album is a joy. Reinhardt and Grappelli are never far from mind, but it’s Bachand’s masterful performances on his lilting Cheyenne (Quit Your Talkin’) and virtuosic Swing ’96 that take centre stage. I swear I heard hints of a young Chet Baker (singing) on Fading Light, and of Louis Armstrong’s What a Wonderful World on Lonely Star, attesting to Bachand’s having done his homework. He has also made it nearly impossible to remember that he is only 21!

Where the Galleon Sank
Kobo Town
Stonetree Records ‎ST-302 (stonetreerecords.com)

Calypso: with roots in African, European and Caribbean rhythms, melodies and instrumentation, the highly hybrid music genre originated last century in Trinidad and Tobago. The music made by the JUNO-nominated Toronto-based band Kobo Town, founded in 2004 by Trinidadian-Canadian songwriter and singer Drew Gonsalves, illustrates calypso’s evolution in the 21st century, staying relevant with global audiences.

Keeping it real, Gonsalves named his band after the Kobo Town neighborhood in Port-of-Spain, its putative place of origin. Early in life he was attracted by the allure of calypso music as well as by its charismatic bards, relating that he “was blown away by the cleverness and the wit of these calypsonians and also their engaging interplay with the audience.”

The very assured album Where the Galleon Sank places the poetic narrative of Gonsalves’ lyrics front and centre. And his music also shows respect to the roots of calypso, while at the same time inventively mixing other Caribbean music influences including ska, dancehall reggae and dub. It’s all narrated by his rich Trini-accented voice and layered acoustic-centred instrumentation. The supporting horn section of trumpet, trombone, and the meaty baritone sax lines played by Linsey Wellman particularly caught my ear.

Gonsalves has addressed his idiosyncratic – to a certain degree made-in-Canada – take on the received calypso tradition. “It is calypso inspired and derived, but it’s a conscious departure from the way it developed back home… For me, the calypsonian is a singing newspaperman…with an attitude halfway between court jester and griot.”

For me, much of Where the Galleon Sank qualifies for my definition of “infectious music.”

Jobim 90
Fernanda Cunha
Independent AA1000
(fernandacunha.com)

There is no question that Antonio Carlos “Tom” Jobim is the most significant, seminal Brazilian composer/musician of this – or any other – time. Without the late Jobim (who would be 90) and his starring role on the tidal wave of bossa nova and Brazilian music in general, there would be no Ivan Lins, Hermeto Pascoal, Gilberto Gil or even Sérgio Mendes. His music remains as stunning, mysterious and indestructible as the pyramids – always gracefully lending itself to a phalanx of interpretations – from the symphonic to the pristine, authentic and vocally driven ensemble that the listener will find here in this exquisite collection.

Producer and powerful alto vocalist Fernanda Cunha has selected ten of Jobim’s familiar (and also infrequently performed) tunes, and brought together a delicious ensemble of collaborators, including Zé Carlos and Reg Schwager on guitar, Jorjão Carvalho on electric bass, Helbe Machado and Edson Ghilardi on drums and Camilla Dias on piano – with all arrangements by members of this tight, skilled unit.

First up is the lilting Aguas de Março (The Waters of March) with its deceptively poetic narrative (which is actually a string of clues to a very infamous 1950s murder in Rio). The song is refreshingly rendered here with musical and vocal precision, and no overwrought Romanticism. Other jewels in this musical crown include the intensely sensual Samba Da Avião; a lovely version of Two Kites sung in English (and featuring the always tasty Schwager on guitar) and the lighter-than-air Chovendo Na Roseira. This fine recording is the result of Cunha’s glorious vision of Jobim’s achievement of the perfect symbiosis of melody, lyric, emotional content, musicianship and soaring spirit.

The Right Frame of Mind
Rodrick Dixon; Edward Mallett; Alvin Waddles
Blue Griffin Records BGR 411
(bluegriffin.com)

Take three accomplished performers on the unlikely combination of the tuba-like euphonium, piano and tenor voice, energetically performing music ranging from classics, show tunes and traditional, and a curiosity becomes an uplifting, unusual musical experience.

Each performer is having so much fun! Rodrick Dixon’s tenor voice is over-the-top enjoyable in flair, diction and spirit. Edward Mallett on euphonium is equally solid in keeping the bottom end in place but really shines when he takes the lead on the melody. Pianist Alvin Waddles plays with dynamic conviction, technical flair and colourful jazzy lines. As all three performers joined forces in arranging the selections, each respective part is playable and inventive. The opening track I Got Plenty o’ Nuttin’ from Porgy and Bess immediately showcases all the great music to come with an upbeat piano lick and bouncy horn melody opening followed by a stadium-filling vocal rendition. Nessun Dorma from Turandot starts on a more traditional operatic setting with piano and voice, and when the euphonium joins in on both melody and accompaniment, a full orchestral-sounding performance transpires. A Patriotic Salute is an uplifting witty medley of American standards such as Stars and Stripes Forever which fits the instrumentation perfectly.

The performers’ mutual respect of the music and each other is evident throughout. It may be a bit too extreme in sentiment for some yet it is really difficult not to at least smile if not laugh out loud when listening!

Rivers
Shawn Mativetsky
Samskara SAM-3 (shawnmativetsky.com)

In his Indiegogo fundraising campaign video, Montreal tabla player Shawn Mativetsky quips that his album Rivers would be the “first album of solo tabla music to be recorded by a Quebecer!”

Bracketted by footage of what appears to be the St. Lawrence River, Mativetsky continued: “This album would be the way to pay tribute to my guru Pandit Sharda Sahai-ji [of the Benares/Varanasi tabla lineage] who truly desired for his family’s tabla tradition to spread around the world, to be enjoyed by all.”

For well over a decade Mativetsky has been “living fully immersed in the world of tabla and Indian classical music,” but it was only last year he finally felt the time had come to release his first traditional solo tabla album.

Rivers is an apt poetic-geographic metaphor for the project. It refers to both Mativetsky’s home St. Lawrence as well as to the mighty Ganges in his adopted Varanasi, India. The cover photographically mashes up a bare snowbound shore with the other shore featuring the ghats of Varanasi, but the two long tracks are truly a one-way “rhythmic journey to Varanasi.”

Mativetsky’s tabla solos are idiomatically accompanied on the bowed dilruba by the veteran Toronto bassist and long-time Hindustani music performer George Koller. They are set in the 16-beat teental, the principal tala (rhythmic cycle) of North Indian classical music.

Koller accompanies the tabla solos with a series of lehras, which are repeated short melodies, providing an aural outline of the tala. Enriching the listening experience, they have wisely chosen lehras in five different ragas, each evoking a distinctive modal and emotional flavour for each tabla section instead of choosing standard practice: a single melody throughout.

The Madhya Laya (medium tempo) track presents fixed tabla compositions, while the Vilambit Laya (slow tempo) track explores the theme-and-variation format with emphasis on improvisation. Mativetsky’s tabla solos in Rivers eloquently reflect his evident dedication to the dynamic, received tradition of Benares style of tabla playing, his own individual spontaneous creativity, as well as his passion for this rich form of music-making.

Bach ’n’ Jazz
Flûte Alors!
ATMA ACD2 2745 (atmaclassique.com)

Lo Único Constante
Alex Cuba
(healer.alexcuba.com)

Canadian-Cuban multi-instrumentalist, vocalist, composer and producer Alex Cuba (né Alexis Puente) is wearing all of his many hats on his latest superb release, Lo Único Constante (Constantly Unique). The recording is dedicated to the seminal musical artists of Cuba’s “Filin Movement” (including José Antonio Méndez, César Portillo de la Luz and Marta Valdés) who have been a profound influence on Cuba and the development of his own unique style, which embraces not only Afro-Cuban motifs, but also funk, jazz and pop. Cuba, who performs here on acoustic and electric guitars, requinto, Hammond B3, acoustic bass, drums, cajon and vocals, has collaborated with more than a dozen fine musicians to bring this dynamic project to fruition – a project that is focused on the blessed concepts of hope, peace, unity, love and the power of positive change.

The CD opens with the lovely En Mi Guitarra – in the words of Cuba, “a voice found its way into my guitar…giving me power to create beautiful melodies, while controlling my choice of notes and silences.” Sumptuous string lines move effortlessly through the composition – as does Cuba’s equally sumptuous voice. Other highlights include the stirring, syncopated Yo Sé Quién Soy (I Know Who I Am) and the moving Ahora (Now), rendered in pure guitar, voice, strings and minimal percussion. This exceptional recording closes with the compassionate Lagrimas Del Que Llora, which features Josemi Carmona’s stirring flamenco guitar.

It’s not necessary to understand Spanish to resonate with the deep emotional content here, as all meaning is conveyed in the universal language of music, and in the tradition of some of the finest musician-composers that Cuba has every produced – of which Alex Cuba is most definitely one.

Na Eira
Marito Marques
Independent (maritomarques.com)

Natural Conclusion
Rose Cousins
Old Farm Pony Records OFPR021 (rosecousins.com)

I first heard Halifax-based, singer-songwriter Rose Cousins live at a café in Vancouver (my then home), almost nine years ago. I’d discovered her two days earlier, listening to a CBC Radio broadcast of a concert that had been recorded in Halifax a month before. As I tuned in, I caught this soul-searing voice, mid-song. “Who IS that?” I shouted at the radio. When her name was announced, I immediately googled it, and found out that Cousins was scheduled to play at this café two days later. Talk about timing!

Since then, Cousins has garnered international accolades, won several East Coast Music and Canadian Folk Music awards and a JUNO, and released a variety of CDs and singles. Natural Conclusion, her fourth and latest, full-length album, is a real stunner! Each track displays Cousins’ gifts as a storyteller. Achingly beautiful lyrics are perfectly paired with the emotional intensity of her music. And then there’s her striking voice that simply will transport you.

Freedom is an evocative take on letting go, knowing it comes with loss and heartbreak. Cousins calls it a “wreckoning.” White Flag and Lock and Key might make you cry – a common reaction to much of her affecting work. Cousins’ response to the teary-eyed? “You’re welcome.”

Rose Cousins is the real McCoy: a songwriter’s songwriter; an open-hearted troubadour; a gracious collaborator who consistently works with some of the best in the biz. Natural Conclusion is testament to all that. A truly authentic voice, this rose is on the rise!

Tumblers from the Vault
Syrinx
Rervng RWRVNG08 (igetrvn.com)

In Tumblers from the Vault, series conceiver William Blakeney continues his collectively titled JMC Retrospective 1967-1977, highlighting the early career recorded music of John Mills-Cockell. A Toronto-born composer, keyboardist and pioneering synthesizer performer, Mills-Cockell was not only an early adapter of the modular synth – he purchased a Moog Mark IIP the same winter of 1968 when the American studio synth trailblazers Wendy Carlos and Suzanne Ciani acquired theirs – but he also swiftly put that early model synth to good use in live performances across Canada and the USA. Furthermore, it featured prominently on the Intersystems albums reissue reviewed in these pages last year.

By 1970, Mills-Cockell’s next music project had emerged: Syrinx was a trio which included two other Toronto musicians, saxophonist Doug Pringle and percussionist Alan Wells. Armed with Mills-Cockell’s compositions and suffused with his increasingly musically confident synth performances, in a couple of years they produced the hit single Tillicum as well as two successful albums Syrinx and Long Lost Relatives. Tumblers from the Vault has carefully remastered those recordings and added previously unreleased material. Dissolving by 1972, during that brief period they managed to merge many music genre threads. I can hear traces of experimental, classical, psych-rock, global influences, proto-ambient, pop, funk and jazz all delivered with a sensitivity for memorable melody, timbral exploration and technological innovation.

I find in the new tracks some of the most musically engaging moments of the box set. These include the extended demo version of December Angel in an ever-evolving dance-friendly 6/8, and particularly the adventurous four-movement, 26-minute Stringspace (1971) for string orchestra, percussion and Syrinx trio. This, the most ambitious work here, points to even larger Mills-Cockell projects yet to come.

As Nick Storring offers in his insightful liner essay, “Syrinx’s music is more than a faded strain in Canada’s consciousness […one that] has never expanded universally.” Can Tumblers from the Vault elevate the short-lived Syrinx to a “place in the wider canon of groundbreaking music, so its story can be appreciated beyond the limits of Canadian notoriety,” as posited by Storring? I can’t say. What I can is that this music from the last century welcomes us to imagine listening to future music which flows freely and amicably across multiple genre boundaries.

Minstrelle
Kristina Bijelic; Felipe Tellez
Independent (kristinabijelicvox.com)

This imaginative project is not only a tour-de-force for the female voice and a celebration of a distinctly feminine journey (hence the title), but it is also the manifestation of the creative partnership between Toronto-born, multilingual, genre-fluid, classically trained vocalist and lyricist Kristina Bijelic and noted Colombian composer and orchestrator, Felipe Tellez. The six evocative, brilliantly produced, original compositions presented here, embrace a variety of ethnic influences and cultural motifs as well as elegant and poetic English, Spanish and Serbian lyrics written by Bijelic. The infusion of Tellez’s stirring orchestral arrangements (performed by the Budapest Art Orchestra) are nothing short of magic.

Of special note is the opening track, On the Horizon. The spaciousness of the composition seems to symbolize the intoxicating lure of travel, of taking the first steps of an irresistible journey. Bijelic’s rich, sonorous alto voice is as resonant as a fine cello, and like a cello, it is a pure conduit for the expression of the deepest emotions. Also stunning is Enamorarme de ti (Falling in Love with You). Based on a traditional Spanish bolero, the Latin rhythmic elements and complex, contrapuntal moving string lines transport the listener into a romantic idyll.

Near the end of the album’s journey is the jazz-influenced Wandering, which is perhaps the most cinematic composition on the CD, bringing to mind the Film Noir of the 1940s and 50s, and Devajačka Pesma (Girl’s Song) is a total delight. Traditional Balkan motifs, chord progressions and instrumentation, as well as the dynamic vocal by Bijelic, make this particular fusion of musics not only original, but thrilling.

I Am the Hero
Shirley Eikhard
Independent (shirleyeikhard.ca)

Solstice Spirit – The Musical Visions of Sister Gildaherd the Benign
Kirk Elliott
Pipistrelle Music KESS2016 (pistrellemusic.com/kirk-elliott)

Multi-instrumentalist and merry prankster Kirk Elliott has been very busy preparing for the onset of winter, it seems. Following up on his 2015 release Widdershins – the Legend of Tristan Shoute, the master of parody and deceit has outdone himself on this latest offering, just in time for Solstice celebrations. As is his wont, Elliott plays no end – literally – of plucked, bowed, blown, squeezed and banged instruments spanning centuries and cultures (i.e. from Renaissance lute and psaltery, to balalaika, sitar and guzeng, Celtic harp to harmonica and accordion to electric guitar, to name just a few). He gets a little help from friends Rebecca Campbell (sultry voice), Don Rooke (honey-dripping Hawaiian slide guitar), Alison Melville (tuneful tenor recorders) and Ben Grossman (hardy hurdy-gurdy) on a few tracks, but this is mostly a solo project.

​Whereas in Widdershins Elliott created a heroic character who appeared in various guises and historical time periods, in this instance the conceit is the story of a young woman who rises through the ranks of a nunnery to eventually be elected Mother Superior. This is a title and position she rejects however as she abolishes the hierarchy in favour of an equitable sisterhood. So, who was Sister Gildaherd the Benign? We are told that “The youngest of twelve children, Gildaherd lost her entire family within months, due to primitive medical conditions, jousting, and head cheese. Relocated to an obsolete convent, she was tormented by insomnia – until she found a mysterious herbal cure, which somehow rendered her susceptible to auditory hallucinations.” Elliott has created an imaginative, festive collection of Gildaherd’s musical visions, from reworkings of The Huron Carol and Edi beo thu to She’s Like the Swallow and Polorum Saskatoona. The last mentioned is Elliott’s take on the medieval Marian hymn Polorum Regina, “Queen of Heaven,” in a Canadian variant substituting his hometown of Saskatoon for the namesake capital city of Saskatchewan.

​Elliott’s original alias Tristan Shoute himself also makes an appearance, at least off-stage, in the album, with a visit to the convent where he briefly tutors the sisters in the musical arts, and leaves in his wake a string of “virgin” births. The musical styles included in this Solstice offering are as eclectic as Elliott himself and I thank him for sharing his wit, wisdom and wonderful musicality with us again.

David Olds is reviews editor at The WholeNote. He can be reached at discoveries@thewholenote.com.

So Many Things
Anne Sofie von Otter
Naïve V5436

The eloquent and versatile Anne Sofie von Otter is much admired for her ability to cross over genres effortlessly in a manner far more hip than many of the classical persuasion. Teaming up with the equally fluid string quartet Brooklyn Rider, well-known for collaborations with artists in genres from jazz to world music, they explore on this recording an eclectic collection of repertoire from John Adams to Björk to Elvis Costello with great affinity and intelligent interpretation. As well as the performers’ favourite selections, there are pieces included that were created specifically for them: Nico Muhly’s So Many Things and For Sixty Cents, an amusing New York vignette by the quartet’s violinist Colin Jacobsen. Pulitzer Prize-winner Caroline Shaw offered her Cant voi l’aube, a modern reworking of a 12th-century trouvère song.

Songs of unconventional love affairs such as Kate Bush’s Pi and Sting’s Practical Arrangement are remedies to the common love song, providing the listener with another insightful glimpse into urban life. Ending with a nod to the fusion of opera and popular music, they perform Les feux d’artifice t’appellent, the closing aria from Rufus Wainwright’s debut opera, Prima Donna.