Europa
Ron Korb
Humbledragon Entertainment HD2012 (www.ronkorb.com)

Flutist Ron Korb has built an international career as a studio musician and as a solo performer; he is particularly in demand for his command of any number of flutes from non-western cultures. Europa, his 16th solo CD, features him not only as performer but also as composer. The music on each track is dedicated to a prominent European composer or compositional genre, on which it is loosely modelled. 

Korb’s affinity for Celtic music, evident on several of the tracks, makes this disc particularly appealing. The especially compelling example of his flair for it can be found on track four, Beckett’s Whisper, which he plays on a wooden Irish flute, really, he observed recently, a baroque flute without the typical D-sharp key. The warm expressiveness of his sound in this wistful, haunting melody has not gone unnoticed: it has recently been named a finalist in the International Acoustic Music Awards.

His collaborators on the disc also deserve acknowledgment: pianist Laila Biali’s distinctive musical personality blends perfectly with Korb’s, while always adding to and supporting his work. Percussionist Larry Crowe is consistently sensitive to his relationship with the other musicians. I admired his tom-tom playing in 1759, a quasi martial tribute to that watershed year in French-English relations. Winona Zelenka, whose cello playing can fill a concert hall, adjusts her sound perfectly to the intimate scale of the occasion and provides welcome contrast to the flute. It is Korb’s unique and recognizable sound, however, that is at the heart of this recording’s appeal.

Passione
Charles Di Raimondo
Independent CDR012 (www.charlesdiraimondo.com)

In the interpretive arts, there is no substitute for life experience – although a good imagination may work for a while, ultimately only genuine, experience-driven emotion transcends the mists of time. In Charles Di Raimondo’s debut CD, not only does he display a highly trained vocal instrument of terrific scope, but he has also literally infused each song with his deeply personal engrams of a life abundantly (and no doubt passionately) lived.

Co-Producers Raimondo and Glenn Morley have created an eclectic program, highlighting Raimondo’s versatility. On the opening track, Raimundo (who also contributes lyrics, music and arrangements) wraps his rich baritone around Ennio Morricone’s theme from the cinematic masterpiece Cinema Paradiso, which sets an impressively high bar for the rest of the recording. 

Of note is a freshly reworked rendition of the contemporary classic, Time to Say Good-bye. The rock-infused production, pleasant baritone placement and double-tracked vocals result in a sumptuous, hearty version, quite unlike any of the more familiar takes from Andrea Bocelli and Sarah Brightman. The spare, emotional Caruso (Lucio Dalla) employs gorgeous acoustic guitar work as the perfect complement to Raimondo’s intensity. Also consummately performed is E Lucevan Le Stelle (from Tosca), with another breathtaking acoustic guitar solo placed against Raimundo’s fully charged vocal. Closing out the program are two more stunners: the Italian folk-inspired Mamma (Nell ‘Eterna Melodia) and the lilting and romantic Aquella Noche en Madrid – sung in Español perfecto!

This is a delightful and expertly produced recording that will no doubt be satisfying to both lovers of classical and contemporary vocal music. Although Raimondo’s debut CD may have been a while in the making, the results have been well worth the wait.

Life Death Tears Dream
Orchid Ensemble
Independent OE2012 (www.orchidensemble.com)

The Juno nominated Vancouver world music trio Orchid Ensemble consists of leader, singer and erhu (Chinese violin) player Lan Tung, Yu-Chen Wang on the zheng (Chinese zither) and percussionist Jonathan Bernard. Life Death Tears Dream is the ensemble’s third CD. In it they explore several common yet paradoxical categories: West and East, ancient and modern, composed and improvised, in the end product proposing a diverse yet cohesive musical fusion of Chinese, Spanish, Taiwanese and Jewish diasporas.

Original compositions by Canadian west coast composers Mark Armanini, Moshe Denburg, Barry Truax, Lan Tung and Yawen V. Wang proudly stand beside idiomatic arrangements of ancient Chinese originals, i.e. Three Variations of Plum Blossom 梅花三弄 by Huan Yi (c. 350 CE), arr. Lan Tung (2006).

Lan Tung’s Dancing Moon 月舞 (2009) is an effective example of the Orchid Ensemble’s cultural and stylistic accommodations and of the rich palate of timbres they employ to expand the work’s sonic space. Couched in a quick, pulsing 5/4 groove the main melody is inspired by a southwestern Chinese folk song in the course of which improvisations are taken. The centrally-placed zheng solo is particularly masterful, culminating in a torrent of nine-beat cycle phases reminiscent of Indian classical music, while shifting tonalities and rhymes may have a Balkan inspiration. Lan Tung’s vocals on lyrics by a Tang dynasty poet set the narrative stage evoking an energy-filled moonlit nightscape: a celestial stream flowing through an ancient forest of clouds swirling over green mountains. It’s well worth repeated listening.

When I Arrived You Were Already There
Aviva Chernick
Independent AVGC-002
avivachernick.bandcamp.com

This is the solo CD debut for Aviva Chernick, who also performs as lead singer of the JUNO-nominated group Jaffa Road. Jaffa Road, like many of the other groups she performs with, explores a wide variety of world music. This recording reflects her work leading devotional music in the Jewish community, including at a number of Toronto’s temples and synagogues.

Her melodies on English and Hebrew texts are presented in a lovely, simple and accessible chant-like style. They transport the listener with a meditative and transcendent character, while the accompanying musicians on a number of exotic instruments provide more intricate and varied textures elegantly lending elements of rock, jazz and world fusion. One of the songs, Chadesh yameinu, borrows its melody with a tip of the hat to the Indian-Persian duo Ghazal.

Aviva maintains a forthright manner and purity of tone in her vocal style, as do her many notable guest singers. The relationships of breath/spirit, creativity/divinity, nature/renewal, family and community are explored on many levels in this deeply heartfelt and personal offering. The title When I Arrived You Were Already Thereis an invitation to the listener to look deeply within and return to peace.

Advice from a Misguided Man
Colin Maier
Independent CMCD001
www.colinmaier.com

Colin Maier is far from misguided as an artist. He is comfortable in a wide range of musical styles as is clearly evident for listeners familiar with his work as the oboist for Quartetto Gelato. In this solo project, Maier is joined by a number of special guests in an eclectic collection of music.

Maier, with pianist Allison Wiebe, is sensitive and articulate in Saint-Saëns’ Oboe Sonata. Musical puns abound in Pasculli’s take on Donizetti operas, with accordionist Alex Sevastian providing a solid accompaniment. The traditional The Pipes is arranged by Maier and Mark Camilleri for small ensemble with oboe providing a convincing bagpipe timbre. Maier creates the ambiance in his steady long tones. Rousing versions of Hilario Durán’s Song for Magdalena and the oboist’s composition Bakon showcase Maier’s ample Latin chops. Based on two contrasting Canadian folk songs, Aura Pon’s lyrical Songs of the North Woods, No.1 is simultaneously soothing and dramatic. The idiosyncratic collection of short “songs” by the composer Rebecca Pellett and lyricist Liza McLellan (Gelato’s cellist) are dispersed as tracks throughout. Everything from new music to poetry to dramatic melodies, the songs are unique twists in sound and attitude. There is nothing bland here.

Colin Maier is a multi-talented musician who plays oboe with a gorgeous tone and superimposes his sense of seriousness and humour into all he performs. You would be misguided not to listen to this release.

Tambanavo (Dance With Them)
Zhambai Trio
Independent n/a
www.zhambai.com

The exhilarating debut CD by the Vancouver group Zhambai Trio showcases both the traditional music of the Shona culture of Zimbabwe and that of its transplanted son, Kurai Blessing Mubaiwa, the group’s leader. Mubaiwa is not only an outstanding mbira dza vadzimu (“thumb piano”), marimba, ngoma (hand drum) and hosho (maraca) player; he is an eloquent and powerful singer as well.

Joined by Canadians, world drummer extraordinaire Curtis Andrews and dancer-percussionist Navaro Franco, the Zhambai Trio’s music is deeply steeped in the traditional mbira music of Zimbabwe. The musical form is typically cyclic, while also marked throughout by evolving, interlocking, dual instrument variations. Characteristic vocal solos and choral responses are usually sung over the continuous instrumental patterns, which in the case of Chinzvenga Mutsvairo, builds into a very satisfying, densely woven, polyphonic texture. That and other tracks remind us how closely identified with the essence of music-making the voice is in much of West Africa. The expressive voices, so prominent on this CD, make a compelling case as the real stars here, despite the evident “rightness” and even virtuosity of much of the instrumental playing.

The online notes refer to the “trance-y” nature of the performance in its homeland. Traditionally sought after in Shona ceremonies, trance states are used to communicate with ancestor spirits and to offer insights to problems of community members. The lyrics on this CD however offer less dramatic, reassuring advice to youth, “you can also do what your elders can” (Chipundura). Another song urges people to get along with their grandmothers, who they rely on for comfort and warmth (Dangurangu).

While the Zhambai Trio was formed as recently as 2010, this CD is clear evidence of an infectious brand of contemporary Zimbabwean-inflected music emerging fully formed from our west coast.

Saeculum Aureum
Band of the Royal Regiment of Canada
www.band.rregtc.ca

2012 marks the 150th anniversary of the establishment of the Royal Regiment of Canada. To commemorate this anniversary the Band of the Royal Regiment (BRRC) has produced a 2-CD set of recordings tracing the history of the regiment and its band. From Elgar’s Pomp and Circumstance Military March No.4 and Holst’s First Suite in E-Flat Major through Gershwin and Ellington to Mancini and The Beatles, this recording spans a broad spectrum of genres in the concert band style. The title track, Saeculum Aureum (Golden Age), was written for the band by Major Paul A. Weston, formerly of the Royal Marines, now Associate Director of Music of the BRRC.

For most aficionados of concert band music, no CD of this sort would be complete without one or more marches reflecting the traditions of the modern band. This set includes two excellent marches with a Canadian connection which are rarely heard. The first is Vimy Ridge, written in 1921 by British composer Thomas Bidgood to commemorate that great battle of April 1917. My father survived that battle, and I have memories of playing a 78rpm version of this march which had been recorded in England during WWII The second, lesser known march is Men of Dieppe. This has an even stronger connection to the regiment. The composer, Stephen H. Michell, was one of several hundred members of the Royals captured and taken prisoner when the regiment stormed the Dieppe beaches. This march was composed during his time in a prison camp.

On a few selections, the band is joined by collaborators from many performances over the years. These include vocalist Danielle Bourré, the Pipes and Drums of the 48th Highlanders and Thomas Fitches at the keyboard of the organ of St. Clement’s Anglican Church. All of the numbers on the first CD are recent recordings under the direction of director of music, Captain W. A. Mighton or associate director, Major P. A. Weston. Most of those on the second CD are from the past 50 years conducted by three previous conductors.

For the most part the recording quality is excellent. However, there are a few selections on the second CD, included for historical purposes, where the recording quality is not up to the same standard. One such number is Alford’s Standard of Saint George. In this case the previously unreleased recording has been taken from the sound track of a 16mm film, The Trooping of the Colour, produced in 1962.

For those interested in the origins of the music, combined with the history of the regiment and its bands over the years, the 20-page booklet contains excellent commentary on every selection and historical connections where appropriate. It also includes information on the soloists and guests.

Available from: R Regt C Band, Fort York Armoury 660 Fleet St. W., Toronto, Ontario M5V 1A9 (www.band.rregtc.ca).

Ask The Oracle
Andy Haas
Resonant Music 009
www.myspace.com/radioichingnewyork

You can go home again; at least that’s what reedist Andy Haas, a Torontonian domiciled in New York, proves with this CD. Haas, who will be playing solo saxophone at OCAD University October 17 with trumpet and electronics player JP Carter in a concert presented by the Music Gallery, was in Toronto last year to record this fine eight-track set of improvisations alongside locals Colin Fisher playing saxophone and strings, Aaron Lumley on bass, plus Brandon Valdivia and Matthew Dunn on percussion.

Although Haas was a member of the Martha & The Muffins pop band and the other four are imbedded in this city’s improv community, the tunes mostly balance on the boundaries among rock, jazz and world music. With Haas playing hojok or Korean oboe as well as soprano saxophone and flute, some of the tracks are as delicate as Eastern court music, others are dependent on choppy guitar distortion or overblown reed riffs which could have migrated from 1960s “energy music.”

Especially pertinent is comparing a track such as Curse of the Horns to Scattered Through the Strings. On the former, Lumley’s thick bass scrubs concentrate the proceedings with a Westernized ostinato as both percussionists clatter and ruff while Fisher on tenor saxophone and Haas on soprano snort and squeal in tandem. In contrast, the other piece exposes Fisher’s command of the multi-string guzheng, with his spidery glissandi weaving a polyphonic sound web through which Haas’ saxophone lines cut with sharp reed bites.

Our Lovely Day
Patricia Hammond
Imperial Music and Media IMMPLC002
www.patriciahammond.com

Canadian born and London (UK) based mezzo-soprano Patricia Hammond has a luscious classically trained voice that has graced the stage with numerous opera companies and symphonies. But on Our Lovely Day she performs a collection of “parlour” songs from the late 19th and early 20th centuries that she has performed in recital for the elderly in British hospitals and nursing homes. Her joyous interpretations, haunting tone colour and in-depth background knowledge create a brilliant presentation of historical accuracy and contemporary flavour.

The Hammond-penned liner notes combine historical facts with personal reminiscences from her performances, childhood and recording sessions which aids to a better understanding of each track. It is great to hear the rarely performed verses included in Button Up Your Overcoat and Always. Love’s Old Sweet Song is a bit quick for my liking yet Hammond’s clear diction saves the day. She cleverly adds in a bit of baroque-like ornamentation at the close of Drink to Me Only, while the rocking band instrumental leading into the Did You Ever See a Dream Walking showcases her tight backup orchestra and the colourful work of arrangers/musicians Nicholas D. Ball and Matthew Redman.

Our Lovely Day will appeal to all age groups, from the very young to the not so very young. My experience allows me to stress that the songs here are extremely tricky to perform, but Hammond makes them all sound so easy and fun!

Uncharted Waters
Ensemble Polaris
Pipistrelle Music PIP1212

With their third and latest release, Uncharted Waters, Toronto-based, multi-cultural, multi-instrumental, quantum world music group Ensemble Polaris continues to delight on all levels — conceptually, musically and creatively. Co-produced by Patrick Jordan and the ensemble, the CD continues the group’s mandate of exploring the “idea of the North” and includes 18 intriguing and visceral tracks that embrace the folk music of Scandinavia, the Balkans, France, Italy and even Venezuela. Utilizing a mind-numbing array of ethnocentric instruments (including Swedish pipes, bouzouki, recorders and accordions) as well as the rich, sumptuous voice of Katherine Hill, the ensemble achieves a musical cohesion and level of communication and symmetry that might not seem possible on paper, given the diversity of the elements involved.

One of the strongest tracks is guitarist Marco Cera’s Ninin. This stirring violin feature is dedicated to his Italian great uncle — an avid violinist. Also of note is a traditional Orkney Islands air, re-worked as Get Him, and sung stunningly by Hill in her soulful, pitch-pure alto. The rhythmic Dry Toes Waltz is an infectious (dry?) toe-tapper, re-imagined by Jew’s harpist Ben Grossman, and the haunting Norwegian Lullaby Jeg Legges I Min Vugge Nu is a precisely set gem, presented simply and beautifully as a moving duet between Hill and Alison Melville’s recorder. Also noteworthy are the sensual El Domador De Tarenque (a fusion of an Argentinean Tango and an Italian Tarantella) and Steklat Fran Sarna — a traditional Swedish wedding banquet song, rendered masterfully on Swedish pipes by Kirk Elliott.

MatadoR - The Songs of Leonard Cohen
Patricia O’Callaghan
Marquis 81417

I was delighted when I got the nod from the DISCoveries editor to go ahead and review Patricia O’Callaghan’s newest album, MatadoR – The Songs of Leonard Cohen. Not only have I marvelled at O’Callaghan’s immense talent over the years, but I had the pleasure of attending her thrilling performance titled “Patricia O’Callaghan Sings Leonard Cohen” at last year’s Global Cabaret Festival. And I was very curious to see how it all would translate to disc.

Generally, it’s next to impossible to recreate the intimacy, immediacy, spontaneity and energy of a live performance on CD. I was utterly transfixed, watching and listening to O’Callaghan on stage. I was less so, listening to the recording; but the more I listened, the more I was drawn in. O’Callaghan’s voice (she trained as a soprano at the University of Toronto) is as rich, pliable and luminous as ever, interpreting Cohen’s songs with tremendous tenderness and a mature, worldly sensitivity and insight. Yes, the soprano nails Cohen!

It doesn’t hurt, either, that she has members of the Gryphon Trio backing her up on several tracks, as well as the fine jazz pianist, David Restivo; their collective work on Alexandra Leaving is particularly beautiful. And bassist Andrew Downing’s gorgeous arrangements are outstanding on If It Be Your Will and Anthem. But, for me, the jewel is O’Callaghan’s take on Dance Me to the End of Love. Translated into Spanish, it’s pure joy and downright sexy.

O’Callaghan co-produced MatadoR. She can be very proud of this project.

Concert Note: Patricia O’Callaghan is featured in Masques of Love – a cabaret presentation by Toronto Masque Theatre, February 3 and 4.

ChaCha
Michele Mele
Independent (www.michelemele.com)

With the release of ChaCha, composer and vocalist Michele Mele clearly illustrates not only her ineffable sweetness of soul, but a gamin wit, impeccable phrasing and mastery of the delicious musical hook. On this, her fifth (and finest) recording, Mele shines on keyboards and her pure, distinctive vocals are in full force and gorgeously recorded. For this project, brilliant producer and guitarist Greg Kavanagh has assembled a tight, groovy cadre of A-List players, including Michael Stewart on sax, Bill McBirnie on flute and guitarist Lou Bartolomucci (notably on Cabana Boy and Answer Every Question). The material on ChaCha is a tasty mix of brand new songs and several previously recorded tunes that have been given a complete (and delightful) re-imagining, such as the charming Tree Frogs (originally written for her then ten-year-old son in celebration of his love of amphibians).

Mele is a natural, highly connective and communicative performer and writer, who made quite a splash recently with her hit one-woman show “Naked on the Rocks.” Her appealing Astrud Gilberto-ish vocals are a refreshing change from the over-wrought divas all too frequently holding sway on the airwaves and in the clubs. The title track is irresistible – rhythmic, clever and sexy – and the Latin sizzler Hold Back Trigger is another stand-out, as is the lilting bossa, One Thing for Sure. Check out Michael Stewart`s potent solo on Stop Talking. This is a gem of a recording – the optimum soundtrack for a languid Sunday afternoon with the New York Times, a mimosa and the perfect company.

Onionoise
The Vegetable Orchestra
Transacoustic Research/Monkey TRES008 (www.vegetableorchestra.org)

With popular concern about fresh and organic produce as its height, Vienna’s 12-piece Vegetable Orchestra (VO) should garner kudos from environmentalists. That’s because all of the instruments the members play are painstakingly fashioned from fresh vegetables.

More than gimmickry – although most of these sound legumes can only be played once and are then turned into soup for the concert audience – these compositions and improvisations are part of the Viennese tradition of sonic experimentation that dates back to Schoenberg and Webern; although it’s more bio-degradable. Unlike self-contained serialism however, the VO’s repertoire draws from pop, concrète, noise, improvised and electronic music. Krautrock, for instance, approximates the sound of that noisy genre with distorted cabbage scrapings. Meanwhile Le Massacre du Printemps reaches a level of timbral intensity by layering repetitive percussion from a pumpkin bass drum, an eggplant clatterer, a carrot xylophone and a bell pepper hooter with parsley, leek and celeriac crackles that seem to emanate from a frying pan. The mélange finale showcases an opposing lyrical airiness propelled by radish bass flute and carrot flute.

There are other tasty interludes of sound mulching. They include Regen which suggests electronic oscillations, actually created by leek membrane pulsations as well as French bean crackles processed through a bean-tip pickup; and Brazil, whose swinging Latin-American-like maraca motion plus percussion and castanet-like resonations result from a bean shaker, eggplant clapper, celeriac bongo and leek pulses. The tune even ends with some swaying vamps from carrot xylophone and calabash bass.

High quality rather than high caloric sounds, it seems somehow appropriate that this sonic salad is served up on a CD, which after all is the same shape as a dinner plate.

Many groups think of themselves as jazz bands, especially when they offer just a teeny dose of improv, or swing, or interaction or any of the other basic elements of the art form. Some are content to operate on the music’s fuzzy boundaries.

This trio could be classified as neo-jazz – they certainly aren’t purveyors of smooth jazz. The Sultans Of String do global music in which you’ll detect Flamenco, Roma, Arab, Cuban and Brazilian elements as well as plentiful grooves on their third album Move (Indie MCK 2050 www.sultansofstring.com). It’s a polished affair of 12 cuts with much colourful atmosphere, savage to sweet execution and terrific violin work from leader Chris McKhool. At his side are guitarists Kevin Laliberte and Eddie Paton, bass Drew Birston and sterling percussionist Chendy Leon as well as an army of guests. There’s much to enjoy from the Afro-Spanish blend of Andalucia to the lively Emerald Swing and the ultra-jazzy Ernie’s Bounce - and stuff to avoid (a cloying Heart of Gold for instance) – but overall it’s fun, if perhaps a little too polished.

The Boxcar Boys offer a dozen tracks and interesting instrumentation on Don’t Be Blue (Indie www.theboxcarboys.ca) with Rob Teehan, sousaphone, John David Williams, clarinet and composer of eight tunes, Karl Silveira, trombone, Laura Bates, violin and Ronen Segall, accordion. There’s vintage jazz, humour, Klezmer, blues, hillbilly vocals and more here, and you surely can dance to this circus music.

Halifax-based Gypsophilia (not to be confused with US band of the same name) is seven-strong. They all sing and play multiple instruments on Constellation (FMG026 www.gypsophilia.org), an album that expands on their fondness for Django Reinhardt. The 11 tunes, all by band members, are all distinctly different, a movie score perhaps with its touches of bop, classical, whimsy and waltzes. If these troubadours return to the GTA, go see.

Bailar Conmigo

Christopher Lee; James Brown

Manor House Records MHR220811

Several years ago, while attending a concert at a local high school, I was quite impressed by the talent of a young student named Christopher Lee. Today, some 25 years later, I am amazed at how this young musician has developed. In this CD Chris Lee has collaborated with Toronto guitarist James Brown, a faculty member of the Royal Conservatory. This all-Latin CD spans a wide spectrum of works from such standards as Abreu’s Tico Tico and Albeniz’s Granada and Seville to works of such contemporaries as Chick Corea, Christopher Caliendo and collaborator James Brown. Five of the 15 selections are by Caliendo, including the world premiere recording of his Mistero.

The guitar’s role is primarily accompanying the flute, where it is always tasteful. Brown’s solo opportunities on such tracks as Corea’s La Fiesta and his own Toronto Folk Song show his talents well. However, this CD is really a showcase for Chris Lee. His dazzling technique on Tico Tico and Caliendo’s Caliente come across as all the more amazing when contrasted with the subtle tones of such works as Ponce’s Estrellita.

For me, the highlight is El Choclo, one of the most recognizable of all tangos. This begins with a slow section where the performer introduces us to an amazing spectrum of tonal colours. Here the haunting sounds reminded me of a native flute circle.

The CD ends with dazzling virtuosity of Caliente. A must have recording.