Alchemy

Tasa with special guests: Mark Feldman; Adrean Farrugia; Dhruba Ghosh;

DJ Olive Independent TASA004

(www.tasamusic.com)

Ten years ago Tasa’s founder, tabla player Ravi Naimpally, set out to realize his vision to create a new musical form out of the many cultures that co-exist in this country. True to form and mission, “Alchemy” delivers on all fronts.

The complete experience of the album leaves the listener feeling as if they had been traveling, shifting in and out of place, space and time. The “trippiness” of the music can largely be attributed to the soundscaping of guitarist Chris Gartner, and the intermittent scratching of guest DJ Olive. Fragments of electronica sneak up on you in a delightful and unjarring kind of way. If pressed to choose a favourite, it would be Boatman’s Song – an original and haunting arrangement of a traditional Indian folk song. The band collectively evokes mystic waters, complete with rain stick. I was mesmerized by the “other worldliness” of Tasa’s newest addition, Samidha Joglekar’s alaaps (extemporized free-form vocalizations), and I could lose myself inside the reverb and timbre of Ernie Tollar’s magical flute playing.

Dhurba Ghosh guests on sarangi, a stringed instrument akin to the violin considered by many as the closest acoustic reproduction of the human voice. Samudra, one of Naimpally’s originals, means ocean in Sanskrit. Ghosh’s sarangi and Tollar’s sax toss around their easy conversation like waves with the “voice” of Naimpally’s tabla. The song ends in a whirlpool jam session. The album’s last two tracks, Bija and Solar really showcase the band’s versatility and bring new meaning to the term World music.

Telephone Game
Kate Schutt
Cuto CUTO 001 (www.kateschutt.com)

Kate Schutt came out with a very accomplished debut CD “No Love Lost” in 2007, which was especially impressive for a young artist with no label backing. She has built on that artistic success and reached further into her considerable creative storehouse for “Telephone Game”. Subtle and stylish, the record is not easily categorized, but leans to pop, soul and jazz, with a full roster of skilled instrumentalists (most notably Teri Lyne Carrington on drums) adding variety and depth. Schutt wrote all of the songs and the one that’ll have you reaching for the replay button is Open Window, with its sweet story of young love and Gregoire Maret’s epic harmonica playing.

Her strong resemblance to Rickie Lee Jones, both in singing style and lyric writing – at once gritty and vulnerable - can’t be ignored. Still, Schutt is carving her own path and although she draws on a few genres, she has a distinctive voice that asserts itself throughout the work. The only minor flaw with the record is that the arrangements are a bit inconsistent. On the one hand, horns add gutsy heft to Take Me With You and strings give a clever nod to the disco era on Fake ID, however on Take Everything and Blackout some of the background vocals sound disjointed and out of place. But it’s a minor distraction from what is otherwise a great record from a gifted musician and songwriter.

Vikings on Vacation
Ensemble Polaris
Bisma Bosma Records BBR002
(www.ensemblepolaris.com)

Self-described Arctic fusion band Ensemble Polaris takes a well deserved sonic break from its usual Northern Exposure with “Vikings on Vacation”. As the hilarious cover art so aptly displays, the dour Viking horsemen are melting on the beach. And while they may not be headed Due South - superb renditions of Swedish folk material are still a main focus - the choice of tracks by such non northern stars as Nino Rota and local Torontonians conjure up more of an international musical pastiche.

Band member Kirk Elliott contributes Cod’s Anatomy, a five part suite of short melodies written after a trip to sunny Newfoundland. Many styles are visited here with the Reel from Doran House a toe tapping joie de vivre. Guest composer Andrew Downing’s You Lovely Island is outstanding. Inspired by some melodies from West Side Story’s America, the piece allows the ensemble a chance to prove that they are more than just another folk music band. This is Leonard Bernstein on the rocks with its lilting melodies and rhythm. Member Debashis Sinha’s Emil Goes to Market is a world music piece originally written for Maza Mezé given in a joyful Polaris rendition.

Our musical vacationers are more laid back in their performances this time. The group plays with care, precision and creativity. However, considering the skills and musicality of the players, more spontaneous improvisation would have been a welcome addition.

“Vikings on Vacation” is great music to enjoy whether you are travelling the world or just taking a short holiday on the veranda.

Concert note: Ensemble Polaris celebrates the release of “Vikings on Vacation” in concert at the Music Gallery/Church of Saint George the Martyr on Friday October 16.

Amor
Amanda Martinez
Independent (www.amandamartinez.ca)

Amanda Martinez is in love. Marriage and a new baby have coloured her already sweet disposition and prompted her to produce this tribute to the promise that life holds, called, of course, “Amor”. With her long-time guitarist Kevin Laliberté and newer collaborator, husband and bass player Drew Birston, Martinez traverses the borders between various Latin musics, pop and jazz. Flamenco is the chief influencer, rearing its exotic head on Gitana, an ode to a gypsy dancer, and Te Prometo, a sort of mellow At Last by way of the Mediterranean. Cuban bandmates Chendy Leon (percussion) and Alexander Brown (trumpet) get to show off their roots on Tómalo and Martinez’s Mexican heritage asserts itself on Alma Mia. Throughout, she channels the gorgeous Mexicana cantora, Lila Downs. Although Martinez doesn’t have the guts and throatiness that distinguish Downs, her trademark straddling of chest and head voice is there and reinterpreted appealingly by Martinez’s pretty mezzo. It takes a lot of confidence to sing a song that has been covered often and performed perfectly, as is the case with Cucurrucucú Paloma and in particular, Caetano Veloso’s version of it, (if you’ve never heard it, do yourself a favour and seek it out on YouTube) but Martinez does her own beautiful, heartrending version here, appropriately ending the record with a reminder that love has its painful side, too.

Concert note: Amanda Martinez’s CD release concert is at the newly opened Koerner Hall on October 23.

The Art of the Early Egyptian Qanun,
Vol. 2
Traditional Arabic Music Ensemble
Independent (www.georgedimitrisawa.com)

This album is the sequel to an album of the same name, without the volume number, since at the time no one had forecast the incredible audience response that buoyed The Traditional Arabic Music Ensemble to grace us with more of the same. The first album came out in the spring of 2008, and notably garnered the 2009 Juno Award for World Music Album of the Year. This time George Sawa, Toronto’s own Egyptian music expert has put together, along with his colleagues, Suzanne Meyers Sawa and Raymond Sarweh, what I feel to be perhaps a stronger offering than the first. If not stronger, then certainly more mature. This is evident right off the top with the first cut, Raqset Sayyed Mohammed stretching over the ten-minute mark and offering a rich and varied array of musical textures within a unified whole.

I literally kept playing this album over and over: the music doesn’t get tired, it doesn’t get stale. It doesn’t even have what some might call “the same sound”, referring to an idiomatic Arabic ‘world music sound’. The energy is fresh and the deep resonance of the percussion drives the listener to yearn for more. If there was an over-riding flavour of this group’s creative output, it would be authenticity. Sawa has gone to great lengths to virtually resurrect an exact replica of a period instrument that is most likely unique in the world. Two thumbs up! Do I hear a trilogy in the offing?

My One and Only Thrill
Melody Gardot
Verve B001256302

Melody Gardot is a powerful new presence on the North American jazz/pop scene. I was enchanted by her live performance at the Toronto jazz festival (see my blog) and am pleased to hear that her charisma and ability to draw in a listener with her intimate vocal delivery has translated beautifully to recording. Her strong songwriting skills — developed while recovering from a serious traffic accident that left her sensitive to light and relying on a cane to walk — are what set her apart from the herd of young jazz singers content to rework old standards. Her unique voice is a contrast of styles with its fast vibrato hinting at the old world, à la Piaf, and her controlled, up close on the mic nuance adding an of-the-moment Leslie Feist style. Her phrasing is all her own, especially on the gorgeous title track, with its laid bare, confessional lyrics: “Birds may cease to spread their wings / Winters may envelope springs / But it don’t matter, it don’t matter ‘cause / When I’m with you / My whole world stands still / You’re my one and only thrill.”

It’s interesting to note what a little record label clout can do for a girl, as a long line-up of horn, string and rhythm section players grace the album, including such heavyweights as Vinnie Colaiuta and Larry Klein. Harmonically rich strings, masterfully arranged and conducted by Vince Mendoza, provide a soundscape that enhances without overpowering. But Gardot holds her own by doing all the guitar and piano work on the disc, and adds some charming bossa nova-style lilt to the only cover on the recording, Over the Rainbow. Expect big things from Ms. Gardot.

Cathy Riches

Classical Fairy Tales - Patrick Cardy’s
The Snow Queen & The Little Mermaid
Angela Fusco; Alex Baran; Chamber
Music Society of Mississauga; Peggy Hill
CMSM Concert Theatre for Kids
(www.chambermusicmississauga.org)

Two compositions by the late and much loved Carleton University music professor Patrick Cardy are featured on this new release. Based on two familiar Hans Christian Anderson children’s stories, Cardy has woven his narrative and music into a palette of word and sound painting, suspense, and musical colours.

The Snow Queen is scored for string quartet and narrator. Angela Fusco gives a convincing performance in telling the saga of lost little boy, and the little girl who loves him so. Her clear diction and amusing character voices highlight her rendering of eternal love to a backdrop of strings. On occasion the music is a wee bit too commercial for my liking, but thankfully these instances are few and far between.

The Little Mermaid has Fusco joined by the excellent Alex Baran in narration. The musical score is stronger here, with the mixed musical ensemble more in the forefront, especially in the gripping track The Sea Witch. The narration and music are equal partners here, probably creating rejoicing in “the distant realms of heaven”, the powerful closing line of this interesting work.

Applause to violinist, producer and CMSM Concert Theatre of Kids Artistic Director Peggy Hills for fulfilling her promise to the late composer that she would record The Snow Queen. Along with The Little Mermaid, this is music for both the young and young at heart.

Tiina Kiik

Black Flowers

Sarah Slean; Art of Time Ensemble

Pheromone Recordings PHER CD 1008

www.pheromonerecordings.com

The Art of Time Ensemble has come out with an absolute stunner of an album. "Black Flowers" is a project spearheaded by piano virtuoso Andrew Burashko, featuring singer Sarah Slean. Burashko has a penchant for bringing together artists and performers from diverse disciplines and styles to present music in fresh ways. For this project, he and Slean pulled together an assortment of tunes written by some of this country's folk/pop heroes - Ron Sexsmith, Mary Margaret O'Hara, Feist and the master himself, Leonard Cohen - and enlisted arrangers and musicians from the jazz and classical world. The result is a collection of modern art songs rooted in diverse Canadian sensibilities.

While the players are top notch, the real stars of this recording are the arrangers. One might expect that having a different arranger for each of the nine songs would result in a random mishmash of styles, but this feels like a real collection with a cohesive theme running through it. The arrangers have taken songs that are, for the most part, harmonically simple and made them over into complex, multi-layered beauties. The arrangements demand a level of musicianship that this group more than delivers. Slean is the perfect vocal foil with her pure instrument and strong interpretive skills; unleashing emotion one moment then pulling back to lay bare the lyrics the next. John Johnson's impeccable reed work is wide-ranging and impressive, giving us moody, growly sax lines on Bruce Cassidy's arrangement of O'Hara's To Cry About, then delicate clarinet on Roberto Occhipinti's take on Sarah Harmer's Lodestar. Rob Piltch turns in an inventive, sensitive guitar effort. The superb strings are supplied by bassist George Koller, cellist Shauna Rolston and the aptly named violinist Ben Bowman. Visit www.artoftimeensemble.com for more detail.

Cathy Riches

That's A Plenty

Royal City Saxophone Quartet

Independent RCSQ2006

www.studiospace.com/rcsq

If someone were not familiar with the sounds and capabilities of a modern saxophone quartet, this CD would be an excellent starter to explore the many voices of such an ensemble. From Dixieland to Irish folk melodies, and from Bach to Thelonious Monk, this covers a broad spectrum of melodies and performance styles. The title track, That's A Plenty, starts things off with a rousing rendition of this Dixieland classic. Driven along by the solid, clean no nonsense bass line of leader Ernie Kalwa, we are treated to two more numbers in a similar vein before being introduced to a wide range of more soothing melodies. These range from Danny Boy, and other traditional Irish fare, through Over the Rainbow on to Bach's Air on the G String. In the more modern jazz idiom there is Thelonious Monk's Round Midnight and the well known Harlem Nocturne. In this latter number, and a couple of others, the addition of a string bass and percussion provides the extra drive required by these selections. One standout is the clever Bach's Fireworks Music (sic), composed in 1980 by Calvin Hampton. This jazzy number has much of the exuberant motion that characterizes the Brandenburg Concerti, but performed on instruments not yet invented in Bach's day. Had Bach been living today, one could certainly imagine him writing something like this. All in all this CD deserves a spot in the collection of anyone with eclectic tastes.

Jack MacQuarrie

Joyful

Coco Love Alcorn

SOP SOP2009001

(www.cocolovealcorn.com)

“Joyful”, the latest disc by singer-songwriter Coco Love Alcorn is a fun, eclectic party. The record opens with the preachy funkiness of Compassion, switches gears to the cute pop of I Got a Bicycle — complete with the instrument du jour of many young singer-songwriters these days, glockenspiel — then ventures into an ode to science nerds everywhere with Intellectual Boys. All of the songs are written by Alcorn who on her My Space page cites some of her influences as “dark organic fair trade chocolate, robots and shade provided by trees” but from the sounds of this record I’m guessing Feist, Corinne Bailey Rae and the Andrews Sisters had a hand, too. Alcorn guides her pretty voice easily from a girlie whisper on the quirky pop tunes to a big, soulful sound on the funkier numbers. Producer, programmer and keyboard player Chris Gestrin is a strong presence on the album providing Wurlitzer, Moog and various synthesized sounds as the mood requires. Alcorn plays acoustic guitar, bass, trumpet and “high fives.”

Cathy Riches

Concert Note: Alcorn is touring Canada and lands in Toronto on June 14 for the CD release party at Hugh’s Room.

Wanderlust

Kiran Ahluwalia

Four Quarters Entertainment

FQT-CD-1802 (www.kiranmusic.com)

Vocalist Kiran Ahluwalia is no newcomer to the world music scene. Born in India and raised in Toronto (now living in New York), she has made an international career for herself singing and developing the art form of ghazal (love songs generally depicting unfulfilled desires) and Punjabi folk songs. I first became aware of her while listening to Toronto violinist Parmela Attariwala’s first CD – “Beauty Enthralled” has one track featuring Ahluwalia, and I was totally hooked! “Wanderlust” is Ahluwalia’s fourth CD, featuring her own musical settings of poems from various sources. (Her second CD, “Beyond Boundaries” won the Juno award for best world music album of the year in 2004). You don’t need to understand Punjabi to appreciate this album – in fact, I dare you not to love this CD! The music itself is gorgeous, and somewhat beyond categorization – while certain traditional elements are present, for example the highly melismatic vocal style, use of tabla, sarangi and harmonium accompaniment, this is “modernish” music, but not to be pigeonholed as any one style or “fusion”. The use of other instruments not normally associated with Indian music, such as the Portuguese guitarra, adds a particularly nice touch on some of the tracks. The main attraction though is Ahluwalia’s voice itself – and here, words are not enough – velvety smooth, flowing like honey, impeccable intonation – but don’t take my word for it; buy the CD (or all of them) and hear for yourself!

Karen Ag

Lhasa

Les Disques Audiogram ADCD 10222 (www.lhasadesela.com)

Lhasa de Sela fans have had a bit of a wait since 2003’s “The Living Road” and though “Lhasa” is a departure from her last, highly-praised disc, there is plenty here to enjoy. Lhasa’s gorgeous, plaintive voice and distinctive songwriting are the bedrocks and as usual she’s surrounded herself with skilled, sensitive musicians who bring a lot to the overall atmosphere. Recorded live off the floor, “Lhasa” is a much more stripped down recording – if you can call a record with harp, violin and several types of guitars, stripped down. Compared to “Living Road’s” multi-layered arrangements and inventive production, “Lhasa” is positively sparse. But it’s apt given the inspiration for the songs, the majority of which are fuelled by heartbreak and emotionally raw. The inventive musicians make the most of the spare arrangements, coaxing expressive sounds out of their instruments to bring appropriate mood to the material, such as Andrew Barr’s mallet drumming on The Lonely Spider or Joe Grass’s resonator guitar work on What Kind of Heart. The other major difference is that all the lyrics are in English, which is a bit of a shame since Lhasa writes beautifully in Spanish and French, growing up as she did in Mexico before settling in Montreal. But the songs don’t lose anything with the absence of a romance language. Lhasa still taps into her deeply poetic side, as in Where Do You Go with “Where do you go / when your tides are low / in the summer dress / of your drunkenness.”

Cathy Riches

Later

Heidi Lange

Independent (www.heidilange.ca)

Singer-songwriter Heidi Lange has flown in under the radar to drop her debut CD, “Later”. While Lange has spent most of her musical career teaching and directing musicals, her own solo performing career hasn’t been high on her list of priorities. But as a songwriter she felt compelled – by personal loss, as is so often the case with songwriters – to get these songs out. The disc has two handfuls of tunes, only a few of which are covers, and nary a done-to-death standard in sight. The genre is hard to pinpoint – cabaret and soul with a touch of jazz - seem to be the biggest influences. The original tunes have a certain comforting familiarity to them. Any Time Soon is an old school R&B lament for a lost love, with appropriately yearning sax work by Pat Carey, and My Own is a gospel-inspired anthem to female independence, with stately accompaniment by brilliant pianist Robi Botos.

Lange has a warm and expressive voice that is at its best on the quieter, more controlled pieces which are predominant here. So her cover of Stevie Wonder’s Tuesday Heartbreak, which calls for more freedom and funkiness, sounds strained and out of the comfort zone for her and some of the band – with the exception of Colin Barrett’s relaxed, solid bass work, which holds it together. While the other covers, Gloomy Sunday – complete with Hammond organ by keyboardist Peter Kadar – and Snuggled on Your Shoulder fit like a glove.

Cathy Riches

Sunplace

Jaffa Road

Independent JR0001

(www.jaffaroadmusic.com)

March 25 saw Toronto’s Lula Lounge at overflow capacity, a lively party atmosphere on the occasion of the release of Jaffa Road's first CD. While this band is relatively new on the world music scene, its musicians are not. Jaffa Road, a Jewish-pop band rooted in tradition, not only takes its place alongside the likes of Toronto’s other fusion groups, such as the Arabic–Greek ensemble Maza Mezé, and Indian–Jazz ensembles Autorickshaw and Tasa, it also shares some of their musicians. “Sunplace” opens with a tabla riff delivered by Ravi Naimpally, and the CD features other well-known guest artists or regulars, Dr. George Sawa (qanoon), Ernie Tollar (eastern flutes), Chris McKhool (violin), Chris Gartner (bass, guitar), Sundar Viswanathan (sax), Jeff Wilson (percussion, kalimba, etc.), and co-producer/composer Aaron Lightstone (oud, guitars, saz, synthesizers).

The star of this recording is however vocalist Aviva Chernick, who sings in Hebrew, English and Judeo-Spanish (Ladino). Also no stranger to Toronto's music scene, Chernick has previously released a CD with The Huppah Project, as well as her solo recording, “In the Sea” (see www.avivachernick.com). “Sunplace” is a collection of songs, either newly composed to traditional texts, or arrangements of traditional songs, and a couple of entirely new ones. The opening number is a call to peace, based on the phrase from Isaiah “nation shall not lift up sword against nation, nor shall they learn war any more”. The CD’s title track Makom Shemesh (sun place) evokes a desert landscape. Be’er Besade is a lively tune from 1950’s Israel. Im Ninalu, a traditional Yemenite melody, was first made popular (to my knowledge) by the late Yemenite-Israeli pop singer Ofra Haza; the version here opens with an introduction by Cantor Aaron Bensoussan. Love songs include the traditional Ladino Una Ora en la Ventana, and a new composition based on the Hebrew Song of Songs,

(open the night for me) which closes this recording. Chernick and the band give polished performances throughout.

Karen Ages

Denis Plante; Mathieu Lussier; Catherine Perrin

ATMA ACD2 2581

At Grigorian.com

I almost fell off my chair when I began to listen to the opening track from this new release. Astor Piazzolla's Libertango is a familiar work – I've heard the late great bandoneonist/composer perform it, I own his recording of it, I've played it and a number of my students play it – but I have never heard it like this! Harpsichordist Catherine Perrin plays the familiar melody with such aplomb that my interest is tweaked though I'm a little confused about the instrumentation. Gradually the other two instrumentalists, bandoneonist Denis Plant, and bassoonist/early music specialist Mathieu Lussier join in, and the stage is set for some fascinating albeit at times totally odd tracks of Latin flavoured originals and covers.

The experimentation with instrumentation is the key here. Both Plante and Lussier are composers too. Their contribution of pieces here are the most successful tracks. Lussier's Fantaisie is a strong, wistful work that walks the thin line of popular and classical music in its contrapuntal writing. Tango a los Nisenson from Plante's “Le tombeau d'Astor” is a comically tongue in cheek take on tangos. Both composers act as arrangers too, with their takes on Piazzolla, Villa-Lobos, Ayala and Falu respectable though not as intriguing as their own works.

Even though the performances and production qualities are superb, the instrumental grouping results in an odd timbre, and the occasional thin sound. This aside, “Bataclan!” is worth a listen to hear smart musicians experiment intelligently.

Tiina Kiik

Click above Thumbnails to jump to review below.

Under the Canopy The Huppah Project Independent HP0001 (www.thehuppahproject.com) I first heard Aviva Chernick in concert with her band Jaffa Road, in the packed Brigantine Room at last fall’s Ashkenaz Festival at Harbourfront. That same weekend saw the release of her latest (and second) CD, “Under the Canopy”. Part of “The Huppah Project”, this CD is a collection of Jewish wedding music, sung entirely in Hebrew, with instrumental accompaniment. Many of the lyrics come from the Song of Songs or other liturgical texts, with either traditional music or music composed in our own era, and at least one song is from 1950s Israel. All are arranged by Chernick and/or ensemble members Aaron Lightstone, who plays ud, guitar and saz, and Jeff Wilson (drums, percussion, cornet). Chernick is the one who shines in this recording and is definitely one to watch on the Toronto music scene. She sings with a purity and clarity of vocal tone that carries this genre well, and to my knowledge is one of the only female vocalists in Toronto specializing in Jewish music of this sort (ie. non-klezmer, Hebrew based). Other back-up musicians include Ernie Tollar (ney) and George Sawa (qanun), who are featured in Heviani el Beit Hayayin (To the Vinyard’s house), a traditional Moroccan song. Visit www.avivachernick.com for more about this artist’s activities. Karen Ages Concert note: Aviva and her band Jaffa Road will be giving a CD release concert at the Lula Lounge, March 25 (see www.jaffaroadmusic.com). BACK TO TOP

Musica Latina Quartetto Gelato Linus 2 70104 www.quartettogelato.ca Quartetto Gelato returns with a soulful collection of Latin American selections. Both joy and tragedy have resulted in personnel changes for this much loved Canadian ensemble. Cellist Kristina Cooper has left for marriage and parenthood. The untimely death of founding member oboist Cynthia Steljes is extremely gripping – both as a musician and individual she was a bright light in the musical community and is deeply missed. It is with gratitude that we note the superb playing of these two on Meditango and BesameMMucho in this new release. New QG members cellist Carina Reeves and clarinettist Kornel Wolak join violinist/tenor Peter De Sotto and accordionist Alexander Sevastian to continue the ensemble’s musical journeys. The tight ensemble playing, astute musicality and sheer happiness illuminate each track. The selections featured should be familiar to most listeners. Tico Tico is a rhythmic joy to listen to with Sevastian’s florid accordion work. Wolak melts the aural senses in Um a Zero while De Sotto charms his way through Manha De Carnival. I wish that cellist Carina Reeves could be heard in the forefront more often - her supportive playing is superb but her elegant performance as a lead instrumentalist is underutilized. A number of special guests are featured including the wonderful Penderecki String Quartet. Quartetto Gelato’s music is extremely appealing. It is the choice of repertoire combined with an esoteric musical approach that makes the unmistakable sound so lovely. Yes, you have probably heard most of the tunes on “Musica Latina” thousands of times before. You just haven’t heard them the Quartetto Gelato way! Tiina Kiik BACK TO TOP

Like Light Off Water Daphne Marlatt; Robert Minden; Carla Hallett Otter Sound OB 105 (www.LostSound.com) Capturing the historical essence of a west coast fishing community, Daphne Marlatt’s long poem Steveston was published in 1974 as a much-acclaimed book with photographs by Robert Minden. For this recording, Marlatt reads passages from that work as well as the postscript added to the 2001 edition. With an evocative soundscape composed and performed by Minden and Carla Hallett, the images of a “boom and bust” town at the mouth of the Fraser River centered around fishing boats and cannery and the psychological states of its inhabitants are brought to life with qualities ranging from eerie trepidation to awestruck wonder. The quality and pacing of Marlatt’s voice is superb and a striking similarity between her speaking voice and Hallett’s singing makes for a beautifully seamless transition in the narrative flow. Minden’s photographic talent translates very well to the evocation of visual imagery through sound. The music is sparse but highly effective with mechanical noise set against the rippling and twinkling of water and light, together with haunting depictions of mysterious and erotic undercurrents mixed with the gentle beauty of the night sky. Pure poetry, pure sound, shifting the listener’s consciousness to the depths of pure feeling. Dianne Wells BACK TO TOP

WORLDS OF MUSIC IN TORONTO

Click the above covers to jump to the reviews below.

The Toronto area boasts some of the finest talent representing non-Western and traditional music, and four recently released CDs attest to the rich diversity of the city’s cultural fabric. The Georgian vocal ensemble Darbazi has been around since 1995, performing music from the Caucasus region that bridges Europe and Asia. While director Shalva Makharashvilli hails from that region, the other nine or so members are primarily local, but you wouldn’t know it, listening to this CD entitled Vakhtanguri. This is folk music and vocal polyphony at its finest, and it’s easy to hear why Darbazi has been so well received during visits to Georgia. The ensemble and soloists deliver each number with that wonderful open-throated vocal style characteristic of Georgian music, good diction, and outstanding harmonic intonation. The title song, described as a table song, is one of the most intricate, and features yodelling from member David Anderson (of Clay and Paper Theatre fame). The dance song Kakhuri Satsekvao features Makharashvilli as melismatic vocal soloist. Some of the numbers are accompanied by traditional instruments; both plucked and bowed, expertly played by ensemble members. All songs are traditional, and include “toasting” songs, dance, love, and work songs, liturgical and epic poem settings, and songs about life in general. The CD is dedicated to the memory of ensemble member John Martin, who passed away in 2007. (www.darbazi.com)
	Having celebrated its tenth anniversary, Nagata Shachu (formerly the Kiyoshi Nagata Ensemble) recently released its sixth CD, Tsuzure (Tapestry). Toronto’s best known Japanese Taiko ensemble delivers polished performances of eleven works, composed by founder and director Kiyoshi Nagata and ensemble member Aki Takahashi. These compositions are very much rooted in Japanese tradition, however with what Nagata, a former Kodo Drummers protégé, refers to as “looking within the box”. What distinguishes this ensemble is its use of instruments in addition to Taiko drums. The title piece of this CD is a good example of this, employing the zither-like koto, shinobue (transverse flute) and ankle bells alongside the drums, weaving a delicate texture of sound. Other instruments used include shakuhachi (end blown flute), and shamisen (lute), with various others added for the final piece, Mamagoto, literally “child’s play”. Koe Narashi is purely vocal. Percussion lovers won’t be disappointed though; this is primarily a drumming ensemble, featuring Taiko drums of all shapes and sizes generously donated by their drum-manufacturing sponsors in Japan. Expertly engineered, this CD is dedicated to the memory of Nagata’s teacher Oguchi Daihachi (1924-2008). (www.nagatashachu.com)
Husband and wife team Maryem and Ernie Tollar need no introduction here; Maryem is probably this country’s best known Arabic vocalist, while Ernie is a multi-instrumental wind player and composer. Cairo to Toronto (ROM 09) is their third CD together, and is to a certain extent an autobiographical account of Maryem’s own journey, exploring themes from alienation and longing to freedom and hope for a better future. The title also refers to the two guest artists on this recording, Dr. Alfred Gamil (violin) and Mohamed Aly (violin and oud), who came here from Egypt to work and perform with Maryem and her ensemble this past year. This is a stunning recording all around - a melding of traditional Arabic-rooted melodic style with jazz and pop nuances.The vocal selections are sung and primarily composed by Maryem, with some of the lyrics by her uncle Ehab Lotayef. Some of my favourite tracks however are among the five purely instrumental numbers, three of which are composed by Ernie Tollar, the other two by Alfred Gamil. These sound the most authentically traditional Arabic, though are not quite. The track Duetto Nahawand, a violin duet featuring Gamil and Aly closes the CD. The other musicians are familiar to Toronto audiences: Levon Ichkhanian (guitar), Andrew Stewart and Rich Brown (bass), Deb Sinha (various percussion), Alan Hetherington and Daniel Barnes (drums). (www.cdbaby.com/cd/maryemernietollar)
	When we think of sitar and tabla, the vast tradition of Indian classical music comes to mind. But United Voices departs from this path. Described as “An Indo-Canadian venture of world Christian hymns”, produced by Hamilton-based sitarist Neeraj Prem, this is gospel with an Indian twist. While the overall sound is decidedly Indian, the texts and musical settings are indicative of another East meets West endeavour. The recording opens with a lively rendition of The Lord’s Prayer (composed by Manick Deep Masih), and includes settings of other Christian hymns arranged Prem. Two songs (My Heart and My Offering) written by Prem, were inspired by ancient Hindi hymns. The “band” includes sarangi (bowed lute), shehnai (Indian oboe), keyboards, saxophone, guitar, percussion, and several fine vocalists. The closing number, Amazing Grace, is a seventeen minute meditation (Prem and Margaret Bárdos vocals), retaining the melody that we’re all familiar with but employing Indian vocal/melodic techniques and instrumental accompaniment that reminds me of the arrhythmic “alap” section of some Indian classical pieces. This CD is dedicated to the memory of Prem’s parents. (www.ragamusicschool.com)