Made to Measure
Countermeasure
Independent (countermeasuremusic.com)

Auprès du Poêle
Ten Strings and a Goat Skin
Independent (tenstringsandagoatskin.com)

Woodstoves, community, dancing, good cheer, fire in the heart – such is the atmosphere on this album, and the aura of this music.  It brought dance to my feet and the love of life to my mind, in no particular order.

This is the third CD released by the acoustic trio from Prince Edward’s Island. Rowen Gallant (fiddle, viola, tenor banjo, vocals), Jesse Périard (guitar, pump organ, backing vocals) and Caleb Gallant (bodhràn, foot percussion, snare, cajón, clawhammer banjo, vocals) may be young but each is a very accomplished musician in his own right.  

While rooted in Acadian and Scottish roots and their love for traditional maritime music, Ten Strings and a Goat Skin were able to expand on this album into truly original interpretations and add unique compositional voices of their own, spicing it with indie and world music flavours. Thus this album comprises of a curious mix of original and traditional tunes and features an array of guest musicians, including Leonard Podolak (also producer of this album) and the members of Les Poules à Colin.

The title track, Auprès du Poêle, moves along with elegance and drive, and features a lovely scat voice/violin duet towards the end. Among many engaging tunes, my favourite were tracks 4, 5 and 6. When First I Came To Caledonia is a beautifully arranged traditional Cape Breton ballad – the dark viola timbre and the mellow voice add the melancholy touch. Shoot the Moon, one of the original tunes, has a few world music twists and a beautiful fiddle/percussion episode. Finally, Maluron Lurette, starts with a solitary melody that continues through progression of instruments and voices.

Sizzling fiddles, dynamic guitars and banjos and ever driving percussion – this album promises and delivers good times.

Concert Note: Ten Strings and a Goat Skin’s busy summer schedule includes three stops in Ontario – July 7 at Hugh’s Room in Toronto, July 8 at the Almonte Celtfest in Almonte and July 9-10 at the Mariposa Folk Festival in Orillia.

Do Right
Sari Kessler
Independent (sarikessler.com)

Long Time Leaving
Christa Couture
Black Hen Music BHCD0079 (christacouture.com)

With the release of her fourth CD, Edmonton-based, eclectic, roots-inspired chanteuse, pianist and gifted composer Christa Couture has recorded a brilliant career-defining project. Featuring all original music, and described by Couture as a “celebration of ordinary heartache,” she has almost cinematically plumbed the depths of her own inspiring journey (teenage cancer, the unimaginable loss of two children and more) and transmuted those experiences into a pan-relatable, uplifting and delightfully quirky project. Recorded in Nashville and skillfully produced by JUNO-winning guitarist/multi-instrumentalist Steve Dawson, the CD includes members of Blackie and The Rodeo Kings, notably Dawson on pedal steel and electric guitars, John Dymond on bass, Gary Craig on drums and venerable Nashville-based fiddler, Fats Kaplin.

There is no wallowing in self-pity here. In fact, the instrumentation, arrangements, compositions and Couture’s lithe, sheer, roots-influenced vocals all underscore the unconquerable human spirit – and make this recording an appropriate listening choice for almost any mood or activity.

Of special note are The Slaughter, with its haunting, almost childlike, echo-infused vocals and a lyric that ponders breakups with both men and women; Michigan Postscript – a melodic travelling song with a lilting vocal and stunning slide work by Dawson; Zookeeper – replete with fine acoustic piano and heavy surf guitar saturating this insightful and witty ode to couples therapy; and Lovely Like You – a sweet stunner featuring the honeyed tones of fiddler Kaplin. Also memorable is the closing track, Aux Oiseaux – a charming, pristine and deliciously melancholy anthem of survival and the art of learning to embrace life again – no matter what has transpired.

KAMP! Songs and Satire from Theresienstadt
Amelia DeMayo; Curt Buckler; Sergei Dreznin
Analekta AN 2 8789

Sephardic Journey
Cavatina Duo
Cedille CDR 90000 163 (cedillerecords.org)

Sephardic Journey is the result of a 20-year exploration taken by the Cavatina Duo – the husband and wife team of Bosnian-born guitarist, Denis Azabagic, and Spanish-born flutist, Eugenia Moliner – into their Sephardic Jewish heritage. In 1996, Azabagic learned that a great aunt of his was a descendant of Sephardic Jews who left Spain at the end of the 15th century. Later, Moliner discovered her own connection: to avoid being expelled, some Jews living in medieval Spain converted to Christianity, taking on last names according to their vocations; a miller, for example, adopted the name “Moliner.”

From this shared background comes a compelling CD of new works commissioned specifically for the Cavatina Duo, all drawing on traditional Sephardic folk tunes – mostly love songs with their often-dramatic, Ladino (Judeo-Spanish) texts – for inspiration.

The recording is infused with gorgeous, evocative melodies, soulful and plaintive laments, lyrical flights of fancy, sultry twists on the tango, startling percussive passages and an exhilarating energy. Azabagic and Moliner are virtuosic, passionate musicians, deftly accompanied by David Cunliffe on cello, Desirée Ruhstrat, violin, and the Avalon String Quartet.

Joseph V. Willams II’s Isabel is the lone flute and guitar duo on the CD; the remaining four works include trios by Alan Thomas and Carlos Rafael Rivera, and sextets by David Leisner and Clarice Assad. I was particularly struck by the third movement of Leisner’s Love Dreams of the Exile, which juxtaposes a jarring, percussive introduction with a generous, heartachingly beautiful quote from the beloved Ladino ballad, Tu madre cuando te parió (Adio Querida).

I wholeheartedly recommend joining the Cavatina Duo on their journey.

So Long Seven
Neil Hendry; William Lamoureux; Ravi Naimpally; Tim Posgate
Independent SLS001 (solongseven.com)

Tango Fado Project
Manhattan Camerata
Sorel Classics SC CD 005 (sorelmusic.org)

Created by artistic director/composer/pianist Lucia Caruso and music director/composer/guitarist Pedro H. da Silva, Manhattan Camerata is a chamber orchestra that excels in its ability to combine all styles of world and classical music to create their self-described Transclassical Music. Here along with special guests Daniel Binelli (bandoneón), Polly Ferman (tango/classical piano) and Nathalie Pires (fado singer), Argentinian tango and Portuguese fado styles are performed, combined and transformed into music that soars in astonishing lyrical emotion and rhythmic drive.

Tango and fado may differ rhythmically yet their shared lyrical and melodic styles thrive when combined. Binelli has arranged the familiar Raul Ferrao Portuguese song April in Portugal into Tango “Abril en Portugal.” A mournful virtuosic violin opening leads into a joyful bandoneón, piano and orchestral tango rendition. Other successful reworkings include compositions by Astor Piazzolla and Carlos Gardel among others. But the original compositions are the highlights. Pires sings da Silva and Caruso’s Amor é Fogo with both understated remorse and a dramatic powerhouse ending. Caruso’s Tanguito Cordobés takes Bach-like fugal counterpoint into tango land with conviction. Da Silva’s Non-Absolutist Universal Anthem is a blasting mass of Latin rhythms, mind-boggling instrumental solos and orchestral bravado.

The brilliant virtuosic playing by all the performers is inspiring and captured clearly in the production. The tango/fado compositions and arrangements are surprisingly successful and never mannered in their stylistic interweaving and reworkings. Tango Fado Project is an uplifting unique listening experience.

A Tribute
Band of the Welsh Guards
British Military Music Archive BMMAWG1502 (bmma.org.uk) 

This two-disc set commemorates the 100th anniversary of the establishment of The Band of the Welsh Guards. In 1915, as the British army expanded during the First World War, it was felt that Wales should be represented in the Brigade of Guards. The regiment was formed in February of that year. Soon after, when the establishment of a band was approved, the city of Cardiff helped to purchase a set of instruments, and the band began rehearsals in October. By the time of their first concert in the London Opera House on March 1, 1916, the band had already been in a studio and recorded the first six numbers of CD1. By the end of the year 1916, founding members of that band had recorded all 12 numbers on the first CD. While recording techniques have improved significantly, the audio quality is quite amazing.

While CD1 contains mostly patriotic music, CD2, recorded between 1921 and 1940, contains a variety of musical styles including several novelty numbers of the type performed by bands in the years between the wars. Such numbers as Gaiety Echoes and Wedded Whimsies certainly aren’t likely to be found in the repertoire of concert bands of 2016. One particular novelty number that used to be very popular is The Whistler and His Dog. Written by Arthur Pryor, famed trombone virtuoso of the Sousa band, it has many of the band members whistling the melody and then ends with loud barking. This CD even contains a couple of numbers by the Dance Orchestra. All in all, an excellent preservation of the musical history of the Welsh Guards.

Orono Cornet Band
Orono Cornet Band
Great Canadian Town Band Festival (oronocornetband.com)

Some years ago, trombone player and old town band music fan, David Climenhage established the Great Canadian Town Band Festival in the small town of Orono, east of Toronto. While the festival no longer operates, Climenhage has now focused on another aspect of his interest in the music of the early town bands in Canada. When he got together with Toronto musician Herbert Poole they discovered that they had a common interest in the collection and restoration of old brass musical instruments. They soon decided that, since their instruments were made to produce music, not just to be admired, they should form a band.

The result is Orono Cornet Band which performs the music of the period when the instruments were built. The result is this recording with music composed between 1855 and 1890. Top flight musicians performing on period instruments, ranging from cornets to such lesser-known oddities as the ophicleide and helicon, provide a rare insight into the musical life of small town Canada before motion pictures, radio or television. Where else could you hear such works for a town dance as the Take Me Home Quickstep or the Blue Dahlia Polka Mazurka. Unfortunately, there are no program notes, and while I had never heard of any of the composers, a little research provided much information on one of them. F. H. Torrington founded the Toronto College of Music which became the first music affiliate of the University of Toronto. In 1894 he conducted the very first concert in Massey Hall. For devotees of early brass band music this recording is a must.

Blackout
Worst Pop Band Ever
Independent (wpbe.bandcamp.com/album/blackout)

The satirically named Worst Pop Band Ever (WPBE) has been crafting its eclectic blend of jazz, pop, funk, dance, soundtrack music and humour for a decade. Blackout is a fresh and successful take on a genre-hopping approach to music making that has seen a growing number of exponents in recent years. The two-keyboard mix of Dafydd Hughes and Adrean Farrugia combine with DJ LEO37’s turntables to create varied and unique textures over the rhythm section of Tim Shia and Drew Birston on drums and bass. Saxophonist Chris Gale is a powerful voice and the de facto singer in a group that doesn’t have one but certainly could.

The group grafts wide-ranging musical elements onto each other that serve to subtly or not so subtly transform the source materials. Peachy Keen features modern jazz piano comping over a reggae feel that creates a surprisingly ideal setting for Chris Gale’s soulful saxophone solo. The abrupt switch to a full-out rock groove with electronica for the tune’s ending somehow seems completely appropriate.

Satie-like chords float in from the crowd noise of Group Scene. The evocative piano melody gives way to Drew Birston’s melodic bass solo and synth textures heighten the atmosphere. Electric piano and Hammond B3 provide a classic backdrop for Adrean Farrugia’s funky Gospel. Farrugia and Gale solo exuberantly in the spirit of the tune. WPBE veers between being ironic and overt but it always wears its pop influences proudly.

Some Fun Out of Life
Rebecca Binnendyk
Alma Records RBM63052 (almarecords.com)

Rock Bach
Double-Double Duo
Independent (doubledoubleduo.com)

Think and listen before you make any assumptions about the musical combination of accordion and clarinet. Double-Double Duo is more than a sweet sugary sound. The imaginative musical mastery, unorthodox arrangements/transcriptions and tight ensemble playing of accordionist/pianist Michael Bridge and clarinettist/pianist Kornel Wolak stretches boundaries in both the acoustic and electronic realms in this release featuring works from their live concert repertoire.

The Brahms Rondo alla Zingarese is a more traditional transcription and exciting performance. In contrast, the four Scarlatti keyboard sonatas are given an eclectic transcription with the clarinet leading the contrapuntal lines and the free bass accordion offering harmonic and contrapuntal support. The title track Rock Bach is a musical stretch as J.S. Bach’s baroque style is shoved into modern-day sound machinations, complete with drum-kit crashes from the Roland electronic accordion. One may wonder what happened to the accordion in Petit Fleur (Bechet) and Flying Home (Goodman), as a flip of a switch and press of a button have Bridge’s Roland accordion emulate guitars, drums, keyboards etc. while Wolak wails through his clarinet leads. A traditional Bulgarian piece and Vivaldi’s Summer complete the package.

Kudos for taking risks with listener favourites – one may not like the sound but there is so much care, energy, compassion and knowledge of divergent styles that their ideas must be respected. Detailed liner notes and more than the 35 minutes of music included here would be appreciated though. Looking forward to the next “refill” release!

Petal
Avataar
InSound Records IS003 (sundarmusic.com)

Ethno-Charango
Surkalén
Independent (surkalen.ca)