David Tudor – Rainforest IV
Composers Inside Electronics
Neuma 158 (neumarecords.org)

American avant-garde pianist turned electronic composer, David Tudor’s masterwork Rainforest had a long gestation. Beginning in 1968 Tudor created four distinct versions culminating in 1974 when he gathered a group of eager young composers, musicians, circuit benders and maverick solderers to form a “family” of collaborators. They called themselves Composers Inside Electronics (CIE).

Tudor’s initial concept was deceptively simple: a collection of mostly everyday objects are suspended in space and set into audible vibration by small electromagnetic transducers. Each object responds to input audio signals in idiosyncratically non-linear, unpredictable, changing ways. Serving as acoustic filters, the objects modify the sounds electronically fed into them.

As a visitor to Rainforest IV‘s Canadian premiere at York University in February 1975, I recall walking into the installation. The exhibition space was populated by transformed sculptural loudspeakers, the acoustic environment eerily evoking Tudor’s descriptive title. 

The CIE performance of Rainforest IV on this album was taped in 1977 at the Center for Music Experiment in San Diego. We’re greeted by a dense aural ecosystem of twittering, squawking and chattering sounds reminiscent perhaps of nighttime insects, amphibians, bird calls and choruses.  Clanging, clicking, whistling, sustained underwater and alien sounds slowly crossfade during the record’s almost 69 minutes. 

The scene was vividly captured by two musicians, who traversed slowly through the space, wearing binaural microphones on their heads. While not a definitive documentation of the work, listened to with headphones this evocative binaural recording is as close as you can get without being in the space. There’s something magical in Tudor’s synthetic forest of sight and sound.

Tactile Stories
Colin Fisher; Mike Gennaro
Cacophonous Revival Recordings CRR-015 (cacophonousrevivalrecordings.bandcamp.com)

Following their first release, Sine Qua Non, guitarist and saxophonist Colin Fisher and drummer Mike Gennaro – two of Canada’s most visible improvising experimental musicians – have recorded their second album, Tactile Stories, an exhilarating four-track collection of free-improvised pieces. Fisher and Gennaro play off of one another with impressive musicality and effusive bravura. Their combined sound is lavish but never swanky and the delivery of ideas is as brilliant as it is ravenous – the two musicians truly connected in their improvisatory impetuses. 

The first track, Ex Nihilo is a powerful example of why Fisher and Gennaro have become some of the most in demand improvising experimental musicians in Canada. The music is virtuosity set free in the wild while making room for more contemplative interludes. Dynamic and driving explorations continue in the tracks Ekstasis and Epinoia while the track Esse offers a more sensitive atmosphere. 

Fisher’s guitar playing is a stunning combination of swells, prickly quirks and dramatic runs. Gennaro draws from an endless cache of stylistic realms that makes for a propulsive energy. Tactile Stories is exactly that – a collection of sonic narratives revealing why these two musicians are at the fore of free-improvised music.

The Lighting of the Lamps
Grant Stewart Quartet w/Bruce Harris
Cellar Music CM110521 (cellarlive.com)

Picture the city at dusk, a shroud of darkness blanketing the bustling life within, bringing a certain air of mystery and veiled passion. The collection of tunes on famed tenor saxophonist Grant Stewart’s newest release calls forth images just like that in the listener’s mind. The tenorist himself mentions that listening back on this session, he was “reminded not of daybreak but rather, dusk… as the city becomes a buzz of activity once more.” Stewart has gathered a group of top tier musicians to bring these pieces to life; Bruce Harris on the trumpet, David Wong on bass, Tardo Hammer on piano and Phil Stewart on drums. The songs are mostly original compositions, arranged by the likes of Elmo Hope and Thad Jones. For the jazz lover looking to add a little pizzazz to their collection, this is a record to get your hands on. 

For musicians, the nightlife is when things really start moving, when the magic truly starts happening. This album is filled with a sense of new beginnings, teetering on that border of exciting tension just waiting to spill over into passionate energy; just as the approach of dusk brings a “second awakening” to the city. Tunes like Little Spain and Mo Is On are spectacular examples of the quickness and vigour of city life whereas Ghost of a Chance is a representation of the other side of nightlife, the mellowness and suppressed desires.

Just the Contrafacts
Adam Shulman; Jeremy Pelt; Cory Weeds; Grant Stewart; Peter Washington; Billy Drummond
Cellar Music CM110321 (cellarlive.com)

The pandemic was a hard hit on the music industry, with the absence of live music and limited use of physical studio spaces. But it also ended up being a chance for several musicians to produce “COVID albums,” many of which are excellent examples of how music can be a voice and outlet during the toughest of times. Renowned pianist Adam Shulman’s newest release is an example of a stellar album born out of lockdown. A hark back to traditional jazz, with a certain whimsical and hopeful twist added, this collection is a surefire way to get your head bopping along on the darkest of days. All tunes are penned by Shulman himself; a backing band of fantastic musicians featuring Jeremy Pelt on trumpet, Billy Drummond on drums and Cory Weeds on alto saxophone, among others, allows these tunes to soar to new heights. 

What makes this album unique is the fact that these songs are all contrafacts as the title of the record suggests, meaning “new melodies [written over] the chord structure of standard tunes” or borrowed chord progressions. Shulman has masterfully added soaring and catchy new melodies overtop chord progressions taken from songs from the Great American Songbook, adding his own unique mark to them. These pieces are filled with a lightness and playfulness, an “[escape] to different times,” letting the listener be carried away from hardships as only the power of music can do.

Orbit of Sound
Max Johnson Trio
Unbroken Sounds U01 (maxjohnsonmusic.com)

Equally proficient as composer and double bassist, New York’s Max Johnson has the invaluable help of Canadian tenor saxophonist/flutist Anna Webber and local drummer Michael Sarin to interpret five of his intricate but easygoing tunes. That’s easygoing not easy, for Johnson’s bass thumps or sul tasto strokes, Weber’s reed cries and gurgles and Sarin’s power pops and rim shots are anything but elementary.

Instead, the sometime slippery and often buoyant tunes evolve with defined and emphasized heads and narratives that usually involve double or triple counterpoint and brief solos. Johnson’s touch can be stentorian but on an extended piece like Over/Under his timbral digging involves high-pitched scraps to contrast with low-pitched body tube murmurs and mid-range blowing from Webber. After reed split-tone yelps stand out over other-directed percussion strokes, measured bass thumps relax the exposition back to the initial theme. Nearly continuous string drones provide an effective balance, scene-setting on The Professor, then joined to strident reed bites and drum ruffs. Webber’s reed-biting whorls and arabesques advance to irregular tongue stops and percussive smears, but the reassuring narrative, anchored by bass strokes, preserves the flow and holds the exposition to defined swing elaborations. 

The one flute track is dryly balladic and Sarin’s ruffs and rebounds add advanced percussiveness elsewhere. But all in all the harmonic balance expressed among writing, narratives and singular expression make this one orbit of sound in which a listener would want to circle.

Red List – music dedicated to the preservation of our endangered species
Brian Landrus; Various Artists
Palmetto Records PM2023 (brianlandrus.com)

With the release of his 11th recording as a leader, highly respected multi-reed player, arranger and composer, Brian Landrus, has not only created something of incredible musical beauty, but is simultaneously highlighting the looming global crisis of species extinction. There are 13 compositions here written by Landrus, representing 13 endangered species on the Red List that could be lost forever. Landrus is collaborating with the organization Save the Elephants and is joined here by half a dozen horns and a stellar rhythm section.

First up is Canopy of Trees – a percussive journey through the majesty of an ancient forest or jungle, made all the more mystical by Landrus’ complex solo and the superb arrangement. The title track reflects chaotic energies and also the brave push back against obliteration, while Geoffrey Keezer’s intriguing synth patches elicit ancient sensations… a connection with Mother Earth. The ensemble is in complete symmetry, punctuated by Landrus’ dynamic soloing. Giant Panda features a well-constructed baritone solo by Landrus, which effortlessly segues into Nocturnal Flight, which is defined by eloquent, elegant guitar work from Nir Felder and parenthesized by sumptuously arranged horns as well as a spellbinding piano solo from Keezer.

Save the Elephants is a standout, and with an irresistible reggae-ish motif, Felder’s rhythmic guitar, Keezer’s Hammond B3 and potent percussion and drumming from John Hadfield and Rudy Royston as well as well-placed vocals, one can almost envision the beautiful elephants strolling regally through the African Savanna. Of special beauty is Only Eight, which begins with a resonant and complex bass solo from the iconic Lonnie Plaxico and morphs into a spacious, etheric expression – a shared vision of a better, more caring world.

Qui Qu’en Grogne
Yannick Rieu Généération Quartet
Yari Productions YARICD2022 (dev.yariproductions.com)

Montreal-based multi-saxophonist and composer, Yannick Rieu, has long been recognized as a significant contender on the world jazz stage, evoking (but not derivative of) greats such as Lee Konitz with big helpings of Sonny Rollins’ lyricism. Rieu is joined here by his Génération Quartet, so named as the group is comprised of both emerging and established jazz artists: Gentiane Michaud-Gagnon on piano; Guy Boisvert on bass and Louis-Vincent Hamel on drums.  

The title track is an archaic, 15th-century French expression, meaning “I don’t care what people think about what I’m doing,” which certainly informs the ethos of creative freedom, open inter-generational communication and the fearlessness of Rieu’s eight original compositions, as well as the fine musicians performing them. This track is replete with a spunky call and response and a contrapuntal, elastic and satisfying melodic line – a tune in search of a cinema noir film (in French or English)!

Time is, Life Was is another outstanding track – a lovely ballad, featuring sumptuous chord changes and lighter-than-air motifs from Rieu and Michaud-Gagnon. When the full rhythm section enters, bassist Boisvert is front and centre with a pensive and melancholy solo, rife with emotional content.  

Le Philosophe is a gem – stylistically bi-locating between the very roots of improvisational jazz and the distant limits of musical possibilities – and Prétexte demonstrates a quirky bebopish sense of humour and delight. Another standout is the stark and beautiful Pharaon, calling to mind Bill Evans and an imaginary collaboration that he might have had with Steve Lacey. The closing track, Porta di cinese includes a stunner of a solo by Michaud-Gagnon and synergous ensemble work.

Live at the Mezzrow
Sheila Jordan w/Alan Broadbent; Harvie
Cellar Music CMSLF002 (cellarlive.com)

The new release from jazz chanteuse extrordinaire, Sheila Jordan, was recorded “LIVE” at New York City’s Mezzrow on October 25, 2021. The recording is not only a major triumph for the esteemed vocal jazz icon, whose career spans over 70 years, but also marks the first release of the SmallsLIVE Living Masters Series under the umbrella of Vancouver and NYC-based saxophonist/producer Cory Weeds’ Cellar Music Group. Smalls and Mezzrow owner/pianist Spike Wilner and Weeds serve as executive producers here, and Jordan’s musical partners include the brilliant Australian/American pianist/composer, Alan Broadbent as well as her longtime collaborator, NYC’s Harvie S on bass.

Jordan includes unique be-bop-centric versions of beloved standards from the likes of Ray Noble, Cole Porter, Rodgers and Hart and Hoagy Carmichael, as well as more contemporary tunes from Miles Davis, Charlie Parker and Shirley Horn. The common threads of this diverse material are the gorgeous and challenging melodic lines, which Jordan has imbued with her own spontaneous and honest improvisations. 

Top tracks include Abbey Lincoln’s Bird Alone – a moving ballad that Jordan saturates with meaning and gravitas and Noble’s The Touch of Your Lips, which captures the humour of the delightful Jordan, and includes the rarely performed “verse” which effortlessly segues into a gently swinging soufflé of boppish scatting. The Bird & Confirmation (Horn/Parker) is an inspired medley, and a true highlight. The passion with which it is performed is part and parcel of Jordan’s unique perspective of establishing a lyrical line that later morphs into an exploration of time, tones and ‘tudes. Of special note is Vernon Duke’s immortal Autumn in New York featuring an exquisite arco solo from Harvie, Broadbent’s meaningful touch and the inimitable Jordan crooning a love song to the exciting, confusing, endlessly creative city that remains the epicentre of jazz. A triumph!

El Tinajon
Luis Deniz; Rafaelo Zaldivar; Roberto Occhipinti; Amhed Mitchel; Jorge Luis Papiosco; Adis Rodriguez Galindo
Modica Music (modicamusic.com)

Since his arrival from Cuba, saxophonist and composer Luis Deniz has placed his distinctive mark on both the Canadian and international jazz scenes. His warm, distinctive and technically skilled sound on alto and soprano saxophones is celebrated here with the release of his new recording – which embraces his emotional journey from a young Cuban émigré to a highly respected jazz stalwart. Deniz’s gifted compadres here include pianist/keyboardist Rafael Zaldivar, bassist Roberto Occhipinti, drummer and vocalist Ahmed Mitchel, vocalist Adis Galindo and percussionist Jose Luis (“Papiosco”) Torres. All nine evocative and powerful compositions on this superb collection were composed by Deniz and deftly produced by noted pianist Teri Parker.  

The title refers to a type of clay pot, brought to Cuba by the Spanish, which eventually became the trademark of the province of Camaguey – Deniz’s culturally rich and soulful place of origin. The opening salvo, Reflexiones is rife with languid, riveting tones from Deniz’s horn that drive the ancient rhythmic modalities with inspired and emotional improvisational sequences channelling the very pulse of Mother Earth herself. This seamlessly segues into La Ceiba de Mayuya, a swinging contemporary jazz exploration featuring a dynamic acoustic bass solo by Occhipinti. 

Of particular note is Rumba para Camaguey/Equality – a sumptuous, lyrical duet performed by Deniz and Zaldivar. Bolero is almost unbearably beautiful, plummeting the depths of sensuality and Gesture adapts the mood by generating pure joy, enhanced by the unison piano/vocal line, masterful piano work and Deniz’s dazzling compositional style. Also of special note is the thoroughly lovely Dutch Flower, dedicated to Deniz’s talented wife. The rousing closer, Conga para Florida is nothing short of magnificent with dynamic soprano work, an indigenous percussive melange and delicious vocals.

First Move
Aaron Seeber; Warren Wolf; Sullivan Fortner; Ugonna Okegwo
Cellar Music CM103121 (cellarlive.com)

Most jazz musicians – no matter what instrument they play – agree that you feel free to go wherever the music takes you when you have a drummer who knows when to fly rhythmically and when he has to “stay in the pocket” so others can fly. It’s clear after the first song on First Move that Aaron Seeber is exactly that kind of drummer.

He shows the elegantly raucous side to his musicianship, with great artistry and flamboyance right from the get go. The pinnacle of the disc comes on the drummer’s First Move, a fast piece that shows not only his ability to play inside the beat and around it but also to run circles and spirals around the burgeoning music, 

This program is also spiced with many classics played in the (so-called) bebop style. During this daring music, Seeber evokes the ghost of Billy Higgins with the melodic chatter of the drums and the incessant hiss of cymbals. Seeber shows uncommon maturity in his playing of Charles Mingus’ classic ballad, Duke Ellington’s Sound of Love, (and later with molten rhythms on Mal Waldron’s Fire Waltz) with slow and quietly balletic drumming that seems to sing. For long sequences in the pocket, listen to Seeber on Charlie Parker’s Klactoveedsedstene.

Being accompanied by altoist Tim Green, pianist Sullivan Fortner, vibraphonist Warren Wolf and bassist Ugonna Okegwo also helps make this a fiery debut disc by a truly fine drummer.

Isabela
Oded Tzur; Nitai Hershkovits; Petros Klampanis; Johnathan Blake
ECM 2739 (odedtzur.com)

On the questing music of his album the eloquent saxophonist Oded Tzur pours out a range of feelings possibly dedicated to his muse  – Isabela – together with a quartet (featuring pianist Nitai Hershkovits, contrabassist Petros Klampanis and drummer Johnathan Blake) which interprets the music’s lyrical profundity. The five songs – or movements, perhaps – on this meditative album brood, sing, dance and soar heavenward.

Throughout this expressive music, Tzur’s lead tenor saxophone voice exquisitely intones his aural emotions glazed with evocative Phrygian modes. The rest of the ensemble follows suit as if they were written into Tzur’s music too. Each of the artists shows immense sensitivity for the composer’s feelings. Thus the repertoire on the album Isabela unfolds with warm and sweeping beauty. 

In Noam and especially in Isabela (the song), for instance, every phrase is vibrantly sculpted and placed within the context of eloquent conversations among piano, bass and drums. Countering the moist tenor of Tzur’s saxophone and the cascades of Hershkovits’ piano is the low rumble of Klampanis’ contrabass and the hiss and sizzle of Blake’s cymbals. This makes for some of the most sensitive performances on the album. 

On Love Song for the Rainy Season Tzur reveals uncommon depth of thought and musical ingenuity as he weaves disparate Middle Eastern and Asian influences into the music. The other musicians remain alert to nuance and dynamic contrasts, providing requisite quotas of passion.

When I Get Low
Tia Brazda
Flatcar Records FCR022 (tiabrazda.com)

Going out on a limb it is not so risqué to proclaim that you won’t find another singer who vocalizes music – including this classic music – quite like Tia Brazda. While Brazda may owe much to both Billie Holiday and Amy Winehouse, she has a fully formed style that is wholly her own. Her wide-open articulation, characterized by the sultry, aspirated “ah” when she uses the first person pronoun “I” is as unique as it is beckoning, and it is something you are not likely to tire of as she glides through these nine songs on her fifth disc When I Get Low. 

Brazda traverses the mezzo-soprano tonal range with ease. But her intonation is uniquely smoky. Moreover, she has a singing style that is made for the pathos of songs such as Lullaby of Leaves, When I Get Low, I Get High and Smile. She can catch both pathos and agitation with tenderly softened tones, made for the graceful love repertoire on this disc (such as the spectacularly evocative I’ll Be Seeing You). 

The members of the ensemble that back Brazda prove themselves to be both subtle and idiomatic interpreters of these songs which they illuminate (as if) with dim gaslight on the darkened alleys off Broadway. Soloists Mike Freedman (guitar), Joel Visentin (piano), Alexis Baro (trumpet) and Drew Jurecka (violin, bandoneón) create an atmospheric setting for Brazda’s gorgeously sullen, long-limbed narratives and floating and spinning lines to unfold with bewitching beauty.

Dream Dancing
Melissa Stylianou; Gene Bertoncini; Ike Sturm
Anzic Records ANZ-0080 (melissa-stylianou.bandcamp.com)

This writer purchased Melissa Stylianou’s 2006 release Sliding Down after hearing her perform in Toronto, which was my introduction to the vocalist’s tasteful singing and composing. It was also my introduction to guitarist Kim Ratcliffe whom I knew of but hadn’t heard, and a chance to hear Kevin Breit who I had just gotten to know. When offered the chance to review Dream Dancing, I delighted in the opportunity to revisit Stylianou’s music over 15 years later, accompanied by yet another great guitarist, Gene Bertoncini. 

Renowned New York bassist Ike Strum is the third bandmate on this recording, and does an exquisite job filling in spaces left by voice and guitar. In this chamber jazz setting devoid of drums, there is simultaneously a rhythmic responsibility to be aware of, as well as the freedom of knowing that each note and chord can be heard clearly. 

Bertoncini throws an occasional harmonic curveball Stylianou’s way, as any exciting and interactive guitarist will tend to do, but each of these interesting challenges are responded to in a sensitive yet sophisticated manner. The album’s penultimate and final numbers My One and Only Love and It Might As Well Be Spring both attest to this, with the NYC-based Canadian vocalist adjusting range and phrasing to fit best with her bandmates. Dream Dancing is a great vocal album yhat transcends the jazz vocal realm enough to be enjoyed by instrumentalists and listeners of all genres.

Listen to 'Dream Dancing' Now in the Listening Room

Epistle
Jacob Chung; Christian Antonacci; Felix Fox-Pappas; Thomas Hainbuch; Petros Anagnostakos
Three Pines Records TPR-008 (jacobchung.bandcamp.com/album/epistle)

It is always exciting to hear a young musician sound fully formed, simultaneously recognizing the tradition that created this art form while innovating as well. Just because there is youthful energy present doesn’t mean the music has to become overly futuristic or avant-garde, and saxophonist Jacob Chung does a brilliant job of bringing new ideas to the table while respecting the old guard. 

Epistle stimulates the listener seconds after pressing play on a CD player or streaming platform. The recording quality and aesthetic brings to mind Verve, Blue Note and Impulse releases, but maintains a modern clarity that eludes many musicians/engineers’ attempts to achieve such a sound. 

Chung has surrounded himself with a group of likeminded and competent young musicians, the oldest being just 24. Trumpeter Christian Antonacci matches Chung’s phrasing, giving the group a unified sound as they traverse several intricate melodies. Some of these melodies come in the form of lines written over pre-existing chord changes, notably Triage with chords penned by Billy Strayhorn, and Bouncin’ at Bonafide which shares a progression with Charlie Parker’s classic Confirmation. These compositions are very tastefully executed by Chung and his band, and their borrowed chord progressions are in no way a cop-out. Epistle 1, 2, 3 and 4 are all unique offerings that provide us with contrasting characteristics, from gospel to swing and everything in between. 

If this is how Jacob Chung is sounding in his early 20s, the future of jazz in Canada and beyond looks bright. Check out Epistle and stay tuned for what’s next!

Nate Wooley – Ancient Songs of Burlap Heroes
Columbia Icefield
Pyroclastic Records PR 20 (natewooleypyroclastic.bandcamp.com/album/ancient-songs-of-burlap-heroes)

Composer/trumpeter Nate Wooley possesses focus and drive to match his creativity, embarking on projects that shift and reappear at intervals of years, expanding exponentially. Between 2007 and 2020, his Seven-Storey Mountain grew from a trio accompanied by electronic tapes to 14 musicians and a 21-member choir. Columbia Icefield, a stellar quartet launched in 2019 with guitarist Mary Halvorson, pedal steel guitarist Susan Alcorn and drummer Ryan Sawyer, is growing conceptually. Wooley sometimes quotes 19th-century American authors like Herman Melville, and this work invites terms like “epic” and “monumental.” The looming intensity, even dark energy, can suggest Moby Dick.  

Wooley’s poetic invocation describes the “burlap hero” as “one who marches – consciously or not – back to the sea in hopes of making no splash, who understands and embraces the imperfection of being, and in that way, stretches the definition of sainthood to fit.” The CD booklet includes aAron [sic] Munson’s grimly evocative photos of an Inuit village in Nunavut, one depicting a frozen whale carcass. 

As a trumpeter, Wooley extends the lyric, expressive tradition of Miles Davis and Wadada Leo Smith, adding extended techniques, eerie electronics and over-dubbing. Brief impressionistic inter-tracks suggest submerged struggles, while the three long movements are developed instrumental dialogues, with guest appearances on one track each by violist Mat Maneri and electric bassist Trevor Dunn. The concluding Returning to Drown Myself, Finally, based on the Swedish song, Nu är midsommar natt, is awash with sea sounds before Wooley’s unaccompanied trumpet comes to the fore, then surrenders to the guitarists’ burbling liquid microtones.