02 Ana SokolovicAna Sokolović – Sirènes
Ensemble contemporain de Montréal; Véronique Lacroix; Ensemble vocal Queen of Puddings Music Theatre; Dáirine Ní Mheadhra
ATMA ACD2 2762 (atmaclassique.com)

2019 JUNO Classical Composer of the Year Ana Sokolović composes with her highly identifiable tonal/atonal soundscapes in four works here. Sirènes/Sirens (2000) is performed perfectly by six female voices of Queen of Puddings Music Theatre Vocal Ensemble. Inspired by ancient Balkan voices of the Sirens legend, high-pitched female voices, quasi-wobbly, humorous yet haunting vocal effects, shrieks, quieter moments, and driving vocal rhythms are intense. The five-movement Tanzer Lieder (2005) is set to five German, French and English poems by Austrian poet Francisco Tanzer. A slightly more operatic work, soprano Florie Valiquette embraces Sokolović’s trademark loud high pitches and dramatic held notes above such instrumental accompaniment as reflective flute/piccolo, piano and cello plucks. Mezzo-soprano Krisztina Szabó shines especially in her colourful lower pitches in the five-movement/language Pesma (1996-2007) above the ECM+ instrumentalists under the direction of Véronique Lacroix.

The title of the violin concerto Evta (2017) means “seven” in Serbian Roma. Seven joined movements are inspired by chakra colours and associated with each note of the scale as Sokolović now explores her characteristic sounds with only instruments. The ECM+ ensemble, with soloist Andréa Tyniec, performs with technical and musical greatness, executing more rapid ascending lines, held notes, pizzicatos and plucks, touches of Gypsy-flavoured sounds and the occasional more tonal sections in this less intense composition.

One can only imagine how gratifying it must be to successfully perform and compose such complex contemporary works. Yes it is intense, but worth the time to listen to and understand Sokolović!

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03 Dawn DaviSweet Apple
Dawn Davi
Independent (dawndavi.com) 

These subtly musical performances are a telling document of pianist Dawn Davi’s compelling, life-affirming compositional gift. The nine pieces on her second album Sweet Apple are also sufficiently exceptional to stand out in what is becoming a rather crowded field of young musicians who feel compelled to express themselves. Certainly the expressive way in which Davi’s music suggests quiet humanity also gives us a fine example of the self-effacing poetry that appears to be the hallmark of her style.

Her use of synthesizer and sustaining pedal give this music a degree of harmonic blurring which in turn – when listened to in consonance with the brass and strings that are added to these songs – also conveys the ethereal effect that she intends us to hear in her music. Davi takes a decidedly elegiac view of life in the expressive music of this disc. In doing so she offers a performance of mellowness and beauty. On Eyes of a Tree (for instance) she coaxes the strings into gentle harmonic enjoinders to her stoic melody which she essentially plays pianissimo, but with exquisite dynamics throughout.

This is typical of Davi’s eloquence and her ability to create a hauntingly beautiful soundscape evocative of a bard contemplating the natural world and the glories that lie within it. With Sweet Apple, clearly Davi has succeeded in celebrating the mysteries of life with music of exceptional stoicism and beauty.

04 Sergio CervettiSergio Cervetti – Parallel Realms: XXI Century Works for Orchestra
Moravian Philhjarmonic Orchestra; Petr Vronsky
Navona Records nv6217 (navonarecords.com) 

The Uruguayan-American composer Sergio Cervetti has long enjoyed a celebrated career as composer and educator (a former professor at the Tisch School of the Arts at New York University), and has clearly cultivated an impressive work ethic in his life, creating and releasing challenging and provocative new music at an impressive rate. Realized here by the Moravian Philharmonic Orchestra under the skillful direction of conductor Petr Vronský and captured beautifully in the sonically satisfying Reduta Hall in the Czech Republic, Parallel Realms is comprised of three single-movement symphonic works, Et in Arcadia ego, Consolamentum and Plexus, in which Cervetti uses religious and scientific themes to musically confront childhood memories that have remained with him throughout his life.

The selections contained on this 2019 recording combine new music with a reimaging of a 1970 semi-graphic score (Plexus) that thread together the composer’s desire to bridge the deeply religious and spiritual with the metaphysical. Vacillating between the tumultuous swirl of the orchestra and quiet minimalism, Cervetti uses the ensemble to its fullest, finding beauty in opposite extremes of the group’s dynamic range. Clearly this is modern music, but anchored as it is to the strong narrative of biography and religious themes (as captured in the accompanying liner notes), the recording presents here as timeless, capable of tapping into universal human emotions and feelings.

The eighth Cervetti recording to be released on the Navona Records label, Parallel Realms comes recommended for fans of symphonic music who hope to be challenged in their listening and satisfied in their quest for exciting and beautiful new music.

05 Silent AitakesFrédéric D’Haene – Music with Silent Aitake’s
Reigakusha Gagaku Ensemble; Ensemble Modern; Kasper De Roo
Ravello Records rr8008 (ravellorecords.com) 

Frédéric D’Haene is a Belgian avant-garde composer who studied with several renowned European and American composers. But it was his 1986 discovery of gagaku (court music of Japan) which dramatically changed the direction of his musical worldview. D’Haene’s study of gagaku – a musical genre a world apart from his own – and its incorporation in his scores, ultimately resulted in what the composer calls “paradoxophony” or “paradoxical coexistence.” This transcultural approach has informed his compositions ever since.

Music with Silent Aitake’s – performed by the esteemed Reigakusha ensemble joined by the premier group Ensemble Modern, both conducted by Kasper De Roo – is a banner example of that approach. Scored for gagaku and chamber orchestra, the five-part work exemplifies D’Haene’s ideal of the coexistence of Western and Japanese instrumental worlds. The liner notes underscore the composer’s key aim: pluralism. It’s an aesthetic and social vision of coexistence which does not favour one musical world over another.

D’Haene’s principle of paradoxophony penetrates his combinations of perceived dual opposites in Music with Silent Aitake’s. We hear modality, atonality and spectral music techniques, stasis and dynamism, sound mass and silence, as well as simplicity and complexity coexisting within both random and organized forms.

Deliberately avoiding Eurocentricity, exoticism or easy melody-with-accompaniment tropes D’Haene has indeed fostered a kind of musical common ground between his chosen two groups in this work. That he’s done so maintaining the integrity of their identities and performing traditions, while expressing his own forceful vision, is indeed an impressive achievement.

06 Greek WindsGreek Wind Quintets
Aeolos Woodwind Quintet
Naxos 8.579037 (naxos.com) 

Pop quiz: name three contemporary Greek composers whose names don’t begin with an “X.” I am not the only one who would fail this test. The aptly named Aeolos Woodwind Quintet has undertaken a project to improve their compatriots’ international profile, and so released a CD of nothing but works for that ensemble: small forces to accomplish a large mission; but the effort is to be applauded.

Aeolos has included just over one hour of material by seven composers, some deceased, some fairly advanced in years. No one born after the 1960s is included, leaving one to wonder if younger composers are ignoring the form or if the group chose to focus only on more established names.

The players acquit themselves well, but much of the earlier material sounds a good deal as though the composers all admired Carl Nielsen; the music is folkloric, charming, tuneful and tonally fresh, but not very exploratory. The more recent works, towards the end of the disc, are the most interesting. Giorgos Koumendakis’ A Blackbird in the Cricket’s Gorge (2013) is a lot of title for a brief, tonally fluid bit of sound painting (including bird calls) originally written for three pianos. Theodore Antoniou’s Woodwind Quintet No.2 (2014), dedicated to Aeolos, is in turns mysteriously searching about and madly dancing in place, a challenging piece rhythmically and tonally, played with confident flair. Woodwind Quintet (1995) by Andreas Makris, closes out the disc with the players passing a rhythmic motif back and forth against a lyric counter argument, ideas which play around for an interesting ten minutes (the longest cut on the disc).

06 Beneath the TidesBeneath the Tide – A Collection of Concertos
Soloists; Croatian Chamber Orchestra; Miran Vaupotic
Navona Records nv6216 (navonarecords.com) 

Don’t be misled by the CD’s title or the accompanying notes that liken its contents to “ocean currents… uncovering what was previously hidden.” Rather than exposing murky, below-the-surface secrets, all five pieces, by four Americans and one Taiwanese composer, display immediately accessible clarity of expression. Nor is this disc “a collection of concertos,” as stated on its cover. Although all the works are scored for instrumental soloists and chamber orchestra, only three are genuine concertos and are so titled.

Restless dissonances in the outer movements of Michael G. Cunningham’s 15-minute Clarinet Concerto Op.186 bracket the middle movement’s brooding lyricism. Virtuoso runs from bottom to top of the clarinet’s range help make this a brilliant showpiece for the instrument.

Rain Worthington’s ten-minute In Passages for violin and string orchestra is a sustained, moody beauty, imbued with Middle Eastern melodic melismas and glissandi. It would make a superb slow movement for a full-length violin concerto.

In her 15-minute Guitar Concerto No.1, subtitled Remembrance of Hometown, Ssu-Yu Huang draws upon musical traditions of her Chinese forebears to create an impressionistic series of atmospheric brush paintings in sound.

At just under six minutes, Bruce Reiprich’s Lullaby features a long-lined violin solo, more intense than gently calming. Perhaps it just needs another title.

The CD concludes with Beth Mehocic’s cheerful 18-minute Piano Concerto, music that suggested, to me at least, playful leprechauns, the final Allegretto a rousing Irish jig. An entertaining end to an entertaining disc.

07 Carl VollrathCarl Vollrath – Souls in Transitions
Summa Trio
Navona Records nv6212 (navonarecords.com) 

“When I first wrote these pieces,” says Carl Vollrath (b. New York City, 1931), “I had no set concept of what they ‘meant.’” Vollrath’s titles for the three trios and their umbrella title Souls in Transitions were added only after a colleague at Alabama’s Troy University, where Vollrath taught for 40 years, said that the first trio reminded him of prehistoric cave paintings. Vollrath’s colleague was undoubtedly responding to the sense of primitive mystery created by Vollrath’s use pf pentatonic and modal scales, ostinato piano bass-note “drum-beats” and repeated melodic and rhythmic motifs typical of religious rituals.

Vollrath’s title for the first trio, The Secrets of the Magdalenian Caves, references those prehistoric paintings. Tombs of Ancient Times, writes Vollrath, evokes “traditions surrounding passing in ancient Egypt,” in which “community members would bring food to the tomb” for use by the departed in the afterlife. Finally, Buddha of the Future reflects “how the image of Buddha has changed over time.” While all three trios share many stylistic characteristics, there is a subtle increase in lyrical warmth over the cycle, their titles perhaps suggesting the growing sophistication of their metaphysical world views.

Vollrath’s sure-handed scoring for violin, cello and piano creates effects almost orchestral in nature, ably performed by the Summa Trio, Los Angeles-based contemporary music specialists. The entire disc could easily serve as the soundtrack for a TV documentary about archaeological sacred sites; CD listeners will have to rely on their own imaginations.

08 Phil SalathePhil Salathé – Imaginary Birds
Ling-Fei Kang; Charles Huang
Ravello Records rr8006 (ravellorecords.com) 

To join Phil Salathé on Imaginary Birds, his magical adventure, the listener must allow oneself to be led by the clear and penetrating soprano voice of the oboe and the more covered, tenor timbre of the pear-shaped bell of the cor anglais, into the wonderful imaginary sound world of the composer. Here we are quite easily seduced by the oboe of Ling-Fei Kang and the cor anglais of Charles Huang as we traverse the interior landscape of Salathé’s vivid imagination. Along the way we are also joined by cello, piano, celesta, harp and guitar to explore the mysterious depths and wondrous heights of birds in their wondrous habitat.

We find ourselves coming under the spell of a composer who is a master of mood and atmosphere and who has the ability to coordinate colour and structure to a rare degree. The bird repertoire – Mandarin Ducks and Imaginary Birds of the Frozen North – swirls amid equally atmospheric pieces such as The Heart that Loves But Once and The Wood Between the Worlds as well as Expecting the Spring Breeze (composed by Teng Yu-Hsien and arranged by Salathé).

The sometimes diabolical difficulty of this music is expertly navigated by Kang and Huang as well as by the other musicians. Each piece is given a lively reading and is played with buoyant, aristocratic grace and almost insolent virtuosity. Equally important is the fact that a delightfully spare atmosphere is maintained throughout.

09 Julius EastmanJulius Eastman – Femenine
Apartment House
Another Timbre at137 (anothertimbre.com)

Julius Eastman (1940-1990) is as fascinating to read about as he is to listen to. This performance of his breathtaking, hour-long work, Femenine takes us to one of the most eloquent members of the 20th-century avant-garde. The performance of this austere work by the ensemble Apartment House is replete with all the virtues that Eastman embodied: unfailing clarity, innate elegance, an unerring sense of proportion, a finely honed mastery of style, melodic finesse and unobtrusive grasp of harmonic rhythm, not to mention a matchless sense of aural geometry.

The work is layered with subtle colours. Each layer – with each hypnotic and intensifying repeat – is daubed with minutely thickening textured music that seems to ebb and flow like a gentle tide that swells steadily from silence before gently building into a soft whoosh of the keyboard, vibraphone, violin, cello and two flutes. Throughout, the uniquely Eastman-like tension between harmonically loaded melody and the essentially neutral, often near-static nature of the metre, has its sense of symmetry quietly disturbed by minute figures played by each instrument as the players recreate the composer’s prevailing tonal palette through appropriately lean, but always beautifully focused, orchestration.

The result proves well worth seeking out. Eastman’s was a diverse style with firm roots in John Cage-like stasis; but there is more heart-on-sleeve Romantic post-avant-gardism than one would expect. Either way the music has an emotional power that Apartment House articulates ever so eloquently.

10 MoyzesAlexander Moyzes – Symphonies Nos.9 and 10
Slovak RSO; Ladislav Slovák
Naxos 8.573654 (naxos.com) 

One in a Naxos re-release series of Slovak composer Alexander Moyzes’ (1906-1984) complete symphonies, this Marco Polo recording was previously issued in the early 2000s. A master of 20th-century techniques and expression, Moyzes developed a style clear in texture, dramatic, and influenced by both his own nation’s and Shostakovich’s music. The three-movement Ninth Symphony (1971) is spare and dissonant; grotesque marches intrude and build to climaxes. In the third movement, solo violin cadenza-like passages cry out. Density, tempo and volume increase till the work ends with a now-subdued violin. Program notes mention the composer’s despair following the 1968 invasion of Czechoslovakia by the Soviet Union, yet I found the work a continuously involving artistic triumph. The Slovak RSO under conductor Ladislav Slovák plays with commitment; woodwinds, including a spectacular piccolo, excel in both lyrical and virtuosic passages.

The Tenth Symphony (1977-78) is more upbeat, though with pensive moments. The opening movement begins slowly and is like the Ninth Symphony in its powerful overture-like dotted rhythms. There are triads and added-note chords now, and fewer bare dyads. A scherzo-type movement is contrapuntal and lively, its trio section featuring realistic woodwind bird calls over hushed strings. Then the long Larghetto caps the work with idyllic, lyrical beauty, but an early slight smear in the strings foreshadows surprising rich and complex polychords. The radiant folk-like finale features colourful orchestration including tinkling percussion; it’s a lot of fun leading to a boisterous close.

11 University WindsThe Other Side
University of St. Thomas Symphonic Wind Ensemble; Matthew George
Innova innova 007 (innova.mu)

We hear string orchestras in concert halls, backing pop artists and even in the supermarket. Alternatively, we may only have heard concert bands at high school performances or marching in parades. The Minnesota-based University of St. Thomas Symphonic Wind Ensemble (Matthew George, conductor) is a highly skilled ensemble of brass, woodwind and percussion that presents a welcome change in timbre and material. They have a long history of commissioning works and this is their seventh album in that series.

One of the album’s highlights is the opening B-Side Concerto – For Rock Band and Wind Ensemble by Spanish composer Luis Serrano Alarcón. This 16-minute work showcases both the wind orchestra and the rock band and contains great rhythmic riffing sections, some odd metre segments and excellent wailing guitar solos. It is a tour de force which manages to incorporate the rock band within the wind ensemble so their distinctive sounds blend to achieve an edgy and exciting effect.

Another highlight, Mysteries of the Horizon (After Four René Magritte Surrealist Paintings) by Nigel Clarke features the virtuoso Belgium cornet player Harmen Vanhoorne. Part 1, The Menaced Assassin, begins with a solo cornet playing a short fanfare and then works into a back-and-forth duel with the wind ensemble containing several angular and sophisticated harmonies and rhythms.

Kit Turnbull’s three-movement Everything starts from a dot (based on a quote from Kandinsky) and a second piece by Alarcón, Symphony No. 2 for Wind Orchestra, are the additional works on this engaging CD.

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12 Germot WolfgangGernot Wolfgang – Vienna and the West, Groove-Oriented Chamber Music, Vol. 4
Various Artists
Albany Records TROY1760 (gernotwolfgang.com)

If you are searching for a fresh and distinct fusion of styles, something classically based yet different, this is the album you might want to consider. Gernot Wolfgang, an Austrian-born composer now based in Los Angeles, masters an idiosyncratic fusion of the elements of the Second Viennese School with contemporary jazz in this selection of chamber music pieces featuring various combinations of instruments. In a way, these pieces take inventory of the stylistic as well as geographical influences on Wolfgang’s compositional style. Music on this album has a firm and clear classical music foundation but what makes it interesting is the interweaving of the rhythmical jazz grooves, occasional country western music motives (especially in strings) and the cinematic quality of some sections.

Passage to Vienna for piano trio, the second piece on the album, is a story told in fragments, and exemplifies why this unique fusion works so well. It opens with a beautifully flowing, seductive melody in the piano and repeated unison in the strings. Groovy rhythms precede a jazzy violin solo, done with flair and style. We are then transported to Vienna at the turn of the century, and non-linearity takes over along with strong cinematic colours. The mood shifts back to America toward the end and the opening theme comes back but this time it is coloured with dissonance. Another jazzy violin solo, with added country-style motives and propelling rhythms in the piano bring this piece to a conclusion. The textures are simply divine.

All the compositions on this album are engaging and atmospheric and a strong cast of musicians adds individual flavours to Wolfgang’s music.

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01 Sheila SoaresAll There Is
Sheila Soares
Independent (sheilasoaresmusic.com) 

Gifted vocalist and composer Sheila Soares’ new recording is one of the freshest, most engaging and thoroughly musical CDs to be released this year. Although Soares is no unseasoned debutante, her debut offering is rife with new, intriguing, genre-blurring original material and fine musicianship. Deftly produced by talented guitarist Eric St-Laurent, Soares’ excellent collaborators also include Jeff McLeod on piano and organ, Jordan O’Connor on acoustic bass and Chris Wallace on drums.

At first blush, there is an obvious sonic similarity between the vocal timbre of Soares and the late Blossom Dearie; however, Dearie (with her quirky, narcissistic performances) never came near Soares’ interpretive sensitivity and jaunty songwriting style. It may be that good tunesmiths (such as Soares) are just “born” when the creative stars align, and they can enter our consciousness at any point along their journey – it’s inevitable… and as Soares says, “Music is like breathing to me.”

Highlights include the lovely title track, as well as the stunning Les Fraises Sur La Lune (Strawberries on the Moon), which displays Soares’ skilled, pitch-pure vocal instrument and considerable ability to swing. The romantic Constellation boasts not only beautiful chord changes, but also a lilting melody and a gentle, rhythmic jazz sensibility that make this gorgeous track a total standout. Jazz has many faces and expressions, and happily for all of us, Soares will no doubt be delighting us with her jazz eclecticism and irresistible perspective for a very long time to come.

02 Marc JordanBoth Sides
Marc Jordan
Linus 270389 (marcjordan.com)

Listing all of Marc Jordan’s songwriting credits, awards and accolades would take up the whole word count of this review, so let me simply say that the man knows his way around a song. And since this album is mostly covers – only two of the tracks are originals – his mighty interpretative skills are a key component here. The other key component of Both Sides is Lou Pomanti, who produced, arranged and orchestrated all the tracks. These two men are at the top of their games and we are the beneficiaries. The album is rich with instrumentation courtesy of the Prague Symphony Orchestra and guest appearances by international heavies like Randy Brecker and Tommy Emmanuel, and local luminaries like Kevin Breit and Larnell Lewis. 

Although he covers a couple of standards from the Great American Songbook, it’s the reinterpretations of classic folk/rock songs that are standouts for me. In particular, Lou Reed’s Walk on the Wild Side shines with its many layers and gorgeous woodwinds, courtesy of Toronto’s own, John Johnson. Although the soft, groovy treatment of the tune is antithetical to its subject matter, it works. Beautifully. Jordan’s thoughtful handling of the title tune also caused me to hear these familiar lyrics with fresh ears and I was struck by how mature Joni Mitchell’s writing was for one so young. (She was in her early 20s when she wrote Both Sides Now.) Overall, the album reflects a full-grown artist who has lived completely, and well.

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03 Karin PlatoThis Could Be The One
Karin Plato
Independent KP0418 (karinplato.com)

Released worldwide on April 12 through Stikjazz Music, This Could Be The One is Vancouver-based vocalist Karin Plato’s eighth studio album, and the culmination of ten years of work with her quintet, which includes herself, clarinetist James Danderfer, pianist Chris Gestrin, bassist Laurence Mollerup and drummer Joe Poole. This Could Be The One also features three special guests: blues musician Jim Byrnes, singer Rebecca Shoichet and trombonist Rod Murray. Recorded live off the floor by Sheldon Zaharko in Vancouver at Warehouse Studio, the album has a warm, inviting vibe, emulating, to a certain degree, the experience of hearing acoustic jazz from a good seat in a well-appointed venue.

This Could Be The One is largely made up of Plato’s original material, with a few re-arranged exceptions: the Lennon/McCartney-penned I’ve Just Seen A Face, Hank Williams’ I’m So Lonesome I Could Cry, and the ubiquitous Heart And Soul. Byrnes joins Plato on What Came Before, Plato’s loping, 3/4 ode to empathy; though they represent different vocal traditions, the two singers’ voices blend well, with Byrnes’ big, woolly voice complementing Plato’s controlled clarity. Shoichet and Plato sing together on Sorrow, another Plato original, a bittersweet, straight-eighths song that serves as the album’s final entry.

With an overall mood that tends toward the calm and communicative, even during its more bombastic moments, This Could Be The One is a worthy addition to the canon of modern Canadian vocal jazz.

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Le way qu’a do
Les Surruralists
Tour de Bras TDB90033CD
(tourdebras.com)

Spine
Monicker (Arthur Bull; Scott Thomson; Roger Turner)
Ambiances Magnétiques AM 246 CD (actuellecd.com)

04a Arthur Bull SURRURALISTGuitarist and poet, Toronto-born, Nova Scotia resident Arthur Bull enjoys a compound musical identity. He has been a part of the Canadian improvising community for decades, developing a personal idiom that draws in equal parts from the extended techniques of free improvisation and the slide and finger-style traditions of blues and folk idioms. These two CDs, from Spring 2018, present Bull in radically different, if equally radical settings.

The Surruralists is essentially a duo of Bull and electric bassist Éric Normand, though guests sometimes contribute to a music that’s at once timeless and timely. The two (sometimes subtly, sometimes not) merge free improvisation with folk singing, mixing French and English traditions to craft a primal music in which country tunes and proto-rhythm ‘n’ blues collide with flashes of an unearthly sound art. Bull’s raw baritone and slide guitar drive Jack o’ Diamonds and Frankie (and Johnny), while his gift for epigram emerges on the spoken Skidmarks: “I couldn’t count how many ways the woodpecker could divide the beat.” Normand adds weird electronic burbles to condition familiar themes, and he’s eloquent on the dirge La courtisane brûlée, with Bull adding plaintive harmonica and Ben Grossman a funereal vielle à roue (hurdy-gurdy).

04b Arthur Bull MonickerAmong Bull’s international associations is one formed in 2002 with drummer Roger Turner, a charter member of the British school of free improvisation. Turner’s sometimes machine-like approach can be traced directly to an early appreciation of the brilliant precision of Dave Tough, the drummer who propelled the rise of Chicago jazz over 90 years ago. Anyone who imagines free improvisation to be somehow vague in its contours simply hasn’t heard Roger Turner. In 2018 Bull and Turner expanded their duo with the addition of trombonist Scott Thomson for a tour (as Monicker) that stretched from Southern Ontario to Nova Scotia.

No blow-by-blow description could do justice to Spine: the music is mercurial, each of the CD’s six tracks a continuum of shifting, permutating relationships and voices, much of it conducted at incredible speed, from Thomson’s burbling register leaps and runs, squeezed through a metal mute, to Turner’s high-pitched clatter. Bull’s voices range from long, wandering bass glissandi to high-speed flurries of metallic scattershot, liable to be confused with some of Thomson and Turner’s own voicings; but the very determination with which the three proceed soon destroys any identikit game of “he said, he said” with a conclusive “When was that?” It’s a high-water mark in Canadian free improvisation.

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