Wanderings
Andree-Ann Deschenes
Independent (aadpiano.com)

The peripatetic pianist Andree-Ann Deschenes, possessed of a most wonderfully restless creative instinct, has put her prodigious musicianship on the line once again. She could be forgiven, of course, for plunging herself – body and soul – into the that tumbling ocean of Brazilian rhythm. The album that results is titled Wanderings although, truth be told, this is anything but an aimless journey into the musical heartland of a country brim-full and flowing over with the most extraordinary rhythm-driven musical culture.

Displaying the mind of a wizened musical apothecary Deschenes knows exactly where to go for the ingredients that make from this music a potion so potently magical that listeners are – in one elegantly executed rippling rhythmic phrase of her left hand – permanently seduced to enter her world of “brazilliance.” This she fashions out of hands that are delicate enough to lend themselves to the wondrous colourscape of Brazilian melody and harmony – powerful enough to handle the sinewy rhythm of the forró and the maracatu, even the mysticism of capoeira. 

The pianist reveals an intimacy with the poetics of Brazilian music that often eludes even the most well-meaning musicians. Moreover, she assiduously avoids the well-worn route to Brazil, taking, instead, the road less travelled. Music such as Andanças (Cassio Vianna), Chardi Kala (Jasnam Daya Singh), Two Moons (Bianca Gismonti), Nalad Ochun (Jovino Santos Neto) – and especially – Tanguinho (André Mehmari) suggest that Deschenes bears the mark of a maverick.

American Counterpoints
Curtis Stewart; Experiential Orchestra; James Blachly
Bright Shiny Things BSTC-0200 (brightshiny.ninja)

I’m writing this quickly so I can get back to hearing the music of Julia Perry (1924-1979) and Coleridge-Taylor Perkinson (1932-2004), the two absurdly neglected Black American composers featured on American Counterpoint. Included is a brief finale from Curtis Stewart, the violin soloist for several tracks, with orchestra leader James Blachly co-curator of the album.

Both composers were recognized and successful to a degree in their lifetimes. So why does one hear about Barber and Ives and Copland and Bernstein but not Perry and Perkinson? Guess. 

It sure isn’t because they weren’t excellent at their craft. Just compare the first cut, Perkinson’s Louisiana Blues Strut: A Cakewalk with his Sinfonietta No.1 two tracks later. It would be impressive to have either piece in one’s catalogue, but having the range shown by owning both puts one in the company of the greats. With his skills in conducting and performing, the obvious comparison is with Leonard Bernstein. Two maestros, one celebrated, the other overlooked. The neo-classical Sinfonietta opens with a Sonata Allegro movement in which Perkinson deploys counterpoint that might put Copland’s to shame (but evokes Hindemith); the third movement, Rondo-Allegrf furioso, doubles down on rhythmic energy; in between he summons Romanticism à la Samuel Barber in Song Form: Largo. 

Then there’s Perry, who composed in a thoroughly modernist and individual style, had studied with Luigi Dallapiccola and Nadia Boulanger, but went largely unregarded by mid-century audiences. How audacious, to write a serious string orchestra work, Symphony in One Movement for Violas and Basses, sans violin and cello voices. Astonishing dark colour, beautiful and sad or angry utterances. All respect to Perkinson, who achieved material success as a commercial composer, but Perry’s light is brighter, or deeper. 

Fine playing by Stewart and the Experiential Orchestra. Great disc.

Samuel Jones – Three Concertos
Joseph Alessi; Jeffrey Khaner; Michael Ludwig; Boston Modern Orchestra Project; Gil Rose
BMOP Sound 1095 (bmop.org/audio-recordings)

“My music always has a lyrical basis,” writes American Samuel Jones (b.1935). That’s evident as three superb soloists join with the Boston Modern Orchestra Project conducted by Gil Rose.

Montreal-born Jeffrey Khaner, principal flute of the Philadelphia Orchestra, ranges from haunting plaintiveness to breathless exuberance in Flute Concerto (2018). Lament memorializes two brothers – Jones’ and Khaner’s. Interludio is a cheerful scherzo. Dream Montage – The Great Bell: America Marching incorporates familiar patriotic tunes, Jones’ hymn The Great Bell Rings for All and a jubilantly ascending, final flourish from the flute.

New York Philharmonic principal trombone Joseph Alessi brings mellow tone and technical wizardry to Jones’ Trombone Concerto, subtitled Vita Accademica (2009). The trombone represents a university student and Jones has composed what he calls “a universalized ‘Alma Mater’ and a stylized ‘Fight Song’.” Andante vigoroso is warmly sentimental; Romanza: Andante amabile is a tender love song. Chimes launch Allegro moderato, the student’s triumphal graduation.

Violin Concerto (2014) begins darkly. Andante con moto features ominous, softly throbbing timpani, grumbling winds and menacing orchestra tuttis, the violin alternating between a sombre, upward, yearning melody and agitated downward figurations, all ending in tentative serenity. In Larghetto con moto: Largo cantabile the violin sings a long-lined, sweetly nostalgic melody over a gentle chordal cushion. Allegro inquieto ed appassionato mixes rapid violin passagework with yet more extended lyricism. Michael Ludwig, former Buffalo Philharmonic concertmaster, brilliantly masters the expressive and virtuosic extremes of this splendid concerto.

Russell Hartenberger – Arlington
Ryan Scott; Russell Hartenberger; Various percussionists
Nexus Records 11053 (russellhartenberger.bandcamp.com/album/arlington)

Despite Ionisation (1931), that great work for percussion by Edgard Varèse, and many other fine works by the great Michael Colgrass, David Saperstein, Henry Cowell and Charles Wuorinen (to name but a few), literature written specifically for percussion remains relatively rare. One reason could be that outside of contemporary blues and rock ensembles with prominently featured drum sets, in classical music, string instruments are often called upon to play pizzicato and col legno battuto to simulate percussion.

But the paucity of literature is not the reason why we must praise Russell Hartenberger’s disc Arlington; for it is a disc where melody, harmony and certainly rhythm are all celebrated in abundance. Hartenberger is a composer and a virtuoso percussionist as well. A founding member of Nexus, he is also what you may call a musical anthropologist who has mined the art and sculppure of percussion of drummers from West Africa and Europe and Indigenous drummers from the Near and Far East to North and South America.

However, it is not simply uncommon scholarship that informs the two large works for percussion on this disc. Hartenberger’s works seem not simply designed to show off the instruments that play them but also to illuminate the music itself: Arlington rises above being a funerary tattoo to celebrate the spectral spirits dancing in the rarefied air above every tombstone. The symphonic Red River is a large-scale musical metaphor that gushes with exuberance celebrating earthly life in all its protean variety.

Heino Eller – Works for Violin and Piano
Andres Kaljuste; Sophia Rahman
First Hand Records FHR149 (firsthandrecords.com)

Estonian composer/teacher Heino Eller (1887-1970) is considered the founding father of Estonian professional instrumental music. He primarily composed small form instrumental works but did compose some larger canvasses including three symphonies. This release is the first to feature only Eller’s violin works, including ten premiere recordings. Violinist/violist/teacher Andres Kaljuste has a diverse career in Europe and champions music by fellow Estonian composer Arvo Pärt, with whom he and his duo pianist Sophia Rahman have a long working association. Heino Eller was Pärt’s composition teacher!

Three divisions of musical style may be made.  Eller’s early works written 1907-1920 are simpler.  Canzonetta (1912) is a fun, easy to listen to, slightly upbeat duet with unexpected extremely high violin pitches. Emotional Moment musical (Muusikaline moment) (1912) is rubato in feel with late Romantic tonalities. 

Eller tried to combine modern sounds with his personal aesthetics in mid-career works1920-1940.  Fantasy for Solo Violin (1931) is the first Estonian work for violin alone. Kaljuste shines creating a symphonic sound blending contrasting lines from lower dark to higher rhythmic ones with exciting fast descending lines. Pines (Männid) (1929) is an Estonian chamber repertoire favourite. Eller combines folk intonation and inflections in lyrical music about Estonian nature. 

Late career works (1940-1970) include Cross-stick Dance (Ristpulkade tants) (1953) with Estonian folk-like rhythmic melodies in conversations and accented notes breaking up the phrases.  

My Estonian parents introduced me to Eller’s Pines. Here I have heard more of his music as Kaljuste and Rahman perform with an amazing understanding of Eller’s artistry. 

they/beast
Pat Posey
Avie AV2638 (avie-records.com)

The Belgian inventor and musician Adolphe Sax is responsible for the saxophone being one of the few instruments to have a clear patent date (June 28,1846). He built different sizes of saxophones but the most familiar are the soprano, alto, tenor and baritone models. The bass saxophone is much rarer and, although the contrabass exists, its size and structure made it almost unplayable. The Tubax is a new version of the contrabass created by the German instrument maker Benedikt Eppelsheim in 1999 and is smaller with a much better fingering mechanism. 

Pat Posey’s solo album they/beast displays the Tubax›s incredible sound with a wide variety of materials, from Bach cello suites to Philip Glass› Melodies for Saxophone. If listening to Paul Desmond’s alto sax is like sipping a fine white wine, Posey’s Tubax is like drinking a delicious porter. Its lows are glorious and Posey dexterously wrestles ithrough some very complex material. they/beast is a unique and sonically adventurous treat. 

Ispilu – Works for Quarter-Tone Accordion
Lore Amenabar Larrañaga
Metier mex 77108 (divineartrecords.com)

Talented accordionist Lore Amenabar Larrañaga researched and self-designed her microtonal quarter-tone accordion. The sounds are produced in both left and right hand manuals, with the range and timbres expanded by 15 right hand and 7 left hand registers. Custom built by Bugari Armando, this is her first recording playing it. She commissioned eight composers to write collaborative solo compositions to explore her organ’s capabilities between 2020 and 2022, during her PhD studies at the Royal Academy of Music.

Fleeting Puddles by Claudia Molitor is an accessible minimalist work. The sounds below water are created with fast repeated notes like ripples or waves while slower chords, subtle atonal held notes with added melodies and intriguing low-pitched notes create water stillness. My Time Is Your Time by Donald Bousted has fast, ringing high notes, detached lower chords, meditative held-notes, descending lines and held clusters separated by welcome reflective silences. Lore’s held-notes bellow control at different volumes is amazing. Feast by Mioko Yokoyama features percussive accordion hits mixed with pitched and quarter tone accented chords, glisses and lower notes. Der Stimme der Stadt composer Christopher Fox writes his work grew out of a series of bell resonances exemplified by extended rippling atonal/quarter-tone chords, repeated intervals, then slower calming held-chords with slight tonal changes and melody. Compositions by David Gorton, Electra Perivolaris, Michael Finnissy and Veli Kujala are also performed.  

Lore’s musical virtuosic performances make this a must-listen release for all.

Night Flight
Barry Elmes Quintet
Cornerstone Records CRST CD 168 (cornerstonerecordsinc.com)

Renowned musician and composer Barry Elmes has again gathered up the best of the best in the Canadian jazz industry and released a captivating new record. The quintet he started in 1991 has seen a couple of changes recently with Chris Gale on sax and Pat Collins on bass added to the existing lineup of Brian O’Kane on trumpet and Lorne Lofsky on guitar. The album is a compilation of standards by greats such as Charles Mingus and Keith Jarrett, which Elmes and crew have revived in an enticing manner. Also featured in the tracklist is a new composition by the drummer himself, which starts off the record with a mellow and catchy groove. 

The bandleader has this to say about this latest release, “Each of these songs left a deep impression on me and this album serves as both a tribute to the composers and an opportunity to present new arrangements of their music.” Elmes’ appreciation and respect for these tunes and their composers is evident throughout the album, especially in the way that each piece has a unique, new take on it without changing the feel and charm found in the original songs. An example of that is Mingus’ Opus 3, which takes on a more laid-back feel in Elmes’ arrangement, but the drive and rhythmic prowess of the original is not lost in this relaxed version. A great album as a whole, perfect for any jazz-lover!

Ballads
Brian Dickinson
Modica Music (modicamusic.bandcamp.com/album/ballads)

Although I have not had the good fortune to perform with the great pianist Brian Dickinson often, I do remember one opportunity in Vancouver that was both memorable and instructive. Between tunes, the band fielded questions from an audience that was comprised largely of music students. After one particularly inspired cascading passage of improvised up-tempo 16th notes by Dickinson, a student asked the Canadian pianist how he approached these sorts of speedy extemporizations. His answer, which was both practical and hilariously banal, was that one should take all the musical language that one knows how to do using eighth notes and simply play them twice as fast. I have learned a lot from Brian over the years, both as a colleague at work, but also by listening to him play live, and I found this advice to be eminently prudent.

I was reminded of this exchange while enjoying Dickinson’s terrific new recording Ballads, which features nine gorgeous solo piano pieces recorded on a beautiful Yamaha C7 during the COVID lockdown of 2020. I wondered if Dickinson would describe playing solo piano as like playing with a rhythm section, but only without one. Although I have not asked Brian about this, I imagine that the answer would be “no.” As is evident on this recommended 2023 release, Dickinson is fulfilling many roles as a solo pianist, coaxing forward the expansive and expressive range of the instrument as only an artist of his level of accomplishment is capable. The entire listening experience is pleasurable. Dickinson plays with the dependable greatness that jazz fans have come to expect from him, and the fact that this recording is a touching dedication to the late great jazz vocalist and educator Shannon Gunn makes it all the more special. 

Moment to Moment
Bernie Senensky; Eric Alexander; Kieran Overs; Joe Farnsworth
Cellar Music CM080923 (cellarlive.com)

The pandemic knocked the performing arts into a near-total hiatus, and many speculated on whether we’d see a post-pandemic renaissance, or a tepid return to “normal.” Jazz’s return has been one marred with ups and downs, but it does feel like it’s brought the global community together in the highs and lows of the new normal. Veteran pianist Bernie Senensky’s Moment to Moment was recorded pre-pandemic at the CBC back in 2001 with two live tracks from 2020 added, and released in 2023. Today it sounds as current as ever, while maintaining a connection to the “before times.”  

Andrew Scott’s liner notes are also quick to point out Moment to Moment’s modern yet classic duality, for which Senensky selected the perfect personnel. American cohorts Eric Alexander and Joe Farnsworth are both sought-after leaders and sidemen in the New York area, where the group’s Canadian contingents have all paid their respective dues at one point or another too. Alexander and Senensky are featured on each of the album’s eight tracks, with Morgan Childs and Farnsworth alternating the drum chair, and Kieran Overs and Dave Young trading bass duties. Overs’ and Childs’ contributions to the quartet are from a live hit in Waterloo, Ontario and sound right at home amongst the six studio tracks.  

During my initial listening, I noted that Moment to Moment features more than one blues and a few tracks at similar tempos. With a less creative and engaging band, this could feel repetitive, but not in the hands of these masters!

Night and Day – The Cole Porter Songbook 
Adi Braun
Alma Records ACD91532 (almarecords.com) 

Backed by Don Breithaupt’s gargantuan arrangements, Adi Braun’s endlessly expressive voice embodies the world of every lyric, her choice of Cole Porter repertoire helps to weave a compelling thematic narrative and her gracefully imaginative phrasing refracts off the pristine orchestration to create a warm, celestial glow. Breithaupt’s orchestra in all of its exuberance and luster, seems to exist for Braun’s effortlessly unhurried time feel to envelope it; these two forces’ moments of impalpable coalescence feeling like proximity to a subdued fireplace, where nearness is best paired with the faintest layer of distance. 

In terms of the success of this symbiotic razor’s-edge dance, it would be tempting to say that credit goes to Breithaupt for not crowding Braun’s frequencies (and credit is certainly due as Breithaupt cultivates sweet, colourful, lush orchards of sound), but it is Braun who is largely playing both the mindful accompanist and driver of mood. Just One of those Things kicks off with an adrenaline shot of an upright bass intro courtesy of Pat Collins and the sheer steadfast vigour of his tone, with the strings resonating at a frequency that could slice right through the fingerboard. Braun finds herself occupying the space in the decay within each note Collins hammers out, nearing a whisper while staying just detached enough to allow the bass line to act as a buoy for our monologue of ephemeral affiliations. Then the extravaganza returns and Braun finds a renewed purpose for those gaps.

Listen to 'Night and Day: The Cole Porter Songbook' Now in the Listening Room

Tide Rises
Lauren Bush
Mighty Quinn Records MQR1166 (mightyquinnrecordsmusic.bandcamp.com/album/tide-rises)

Canadian born, UK-based singer Lauren Bush has released an eclectic album of both original songs and original-sounding covers. Although there are forays into other genres, the group mainly focuses on jazz with a mix of standards and modern takes. We’re put on notice about the serious skills at play with the opening track as Bush tackles the Clifford Brown vocal-cord twister Joy Spring with ease. 

As a sucker for a Fender Rhodes, I was taken by the more soulful/groovy numbers like the title track, which is a Longfellow poem given an urban ballad treatment. It has the bonus of showing Bush’s voice in a different light, as her straight tone can sound a bit strident in the upper register and on some of the up-tempo tunes. However, here and on some of the other laid-back tracks, her tone is softened and more relaxed. Throughout, Bush’s ability to put across a lyric is consistent and is one of her strong suits along with her improvising ability. 

The players – in particular keyboardist Liam Dunachie, who also doubles as arranger – are comfortable on acoustic and electric instruments as the style of song demands and Madrugada is a lovely lesser known bossa nova which highlights their versatility. It seems no Canadian singer’s album is complete without a Joni Mitchell tune; Bush and crew don’t disappoint with their beautifully reharmonized cover of The Circle Game.

Listen to 'Tide Rises' Now in the Listening Room

You’re Alike, You Two
Caity Gyorgy; Mark Limacher
Independent (caitygyorgy.bandcamp.com/album/youre-alike-you-two)

Two-time Juno Award-winner in the Best Vocal Jazz Album category, Caity Gyorgy is back again with a fresh, snazzy album. The scintillating songstress has put her own twist on a few classic tunes by renowned composer Jerome Kern as well as thrown one of her own new songs into the mix, so this album does double duty – freshening up traditional pieces in addition to showcasing her skills as a composer. Throughout the album and taking into account her past releases, a unique streak runs through them, one that only a few talented musicians can truly master: the ability to breathe new life into traditional pieces and bring them into the modern day. Charm, wit and a certain je ne sais quoi from a bygone era are brought into the present through Gyorgy’s composition and her takes on famed tunes.

The multi-talent’s soaring yet mellow vocals are complemented and showcased perfectly by pianist Mark Limacher’s melodies and riffs. There’s something wonderfully satisfying about a record that is focused around the interplay between a voice and the piano; it’s simple, yet the way the two work together and collaborate brings in an intriguing level of complexity that one must really listen to in order to fully comprehend. Gyorgy’s own tune The Bartender is a standout and a snappy little musical response to some of her critics. Yet another fabulous release, this is a worthy addition to the jazz aficionado’s collection.

Listen to 'You’re Alike, You Two' Now in the Listening Room

Spring Comes Early
John Herberman
Ceola Records CR0003 (johnherberman.com)

Composer and pianist, John Herberman is not primarily known as a jazz musician, but has enjoyed a long, successful career as a screen composer/producer. He has received many international accolades for his 45 successful albums as well as record sales in the millions. Like his debut jazz recording of 2021, his new project also focuses on the jazz of the 50s and 60s, as exemplified by pianists such as the late Bill Evans and Ahmad Jamal. All of the well-constructed tunes here were written by Herberman, who performs on acoustic piano and Fender Rhodes, and he has surrounded himself here with a superb ensemble of noted jazz musicians.

The program begins with the lovely Courtenay Circle, which memorializes a street and time in Rochester where Herberman jammed with wonderful friends who have sadly both passed. This sweet track features both Mark Eisenman and Herberman on piano, and a stunner of a solo from bassist Paul Novotny. Next up is the thoroughly gorgeous Central Park West, which was inspired by a New York City Busker, wailing on his sax into the sticky, NYC summer night. Herberman brilliantly captures the mood on Rhodes here, with eminent alto saxophonist Verne Dorge, hauntingly soloing in the spotlight.

Another sumptuous track is Modalities – this delicious composition includes the evocative muted trumpet of John MacLeod, with a visceral harkening back to 1950s-era Miles Davis. Vibraphonist Mark Duggan adds his own luminous work to this stunner. Another highlight is the title track, which is a diaphanous homage to the iconic Evans, with Duggan and MacLeod (on flugelhorn) moving contiguously through the piece, propelled by Herberman on Rhodes. The exquisite Kevin Turcotte is featured on flugelhorn in the closer, Ballad for M.T., which also features Herberman on mesmerizing, sylph-like acoustic piano and Novotny on sinuous, emotive bass.

Listen to 'Spring Comes Early' Now in the Listening Room

Home Cookin’
Cory Weeds with little big band accompaniment
Cellar Music CMR120522 (cellarlive.com)

The latest offing from master tenorist/producer/record label director Cory Weeds is unequivocally loaded with delight. For this new expression of joy, Weeds has formed an ensemble comprised of many of the top, Vancouver-based jazz players. The material here is powerful, featuring compositions by Horace Silver, Weeds, Michael Weiss and Thad Jones, as well as a superb re-tooling of Oliver Nelson’s original arrangement of the classic Lullaby of the Leaves.  Bill Coon and Jill Thompson are the brilliant arrangers/producers of the majority of the material here, with a pumpitudinous arrangement of Weiss’ Power Station by Weiss himself.

The opening salvo and title track, Home Cookin’ (a Silver composition) gets going with a bass intro, followed by synchronous brass and rhythm section work. The track bobs and swings in all of the right places, replete with a fine solo from Weeds. Next up is Corner Kisses – a Weeds original – it’s loaded with energetic bop and penned as a celebration of his beautiful, amazing wife. Weeds and his horn take off into the stratosphere here, along with pianist Chris Gestrin, trumpeter Brad Turner and drummer Jesse Cahill. Blossoms in May, is another Weeds original, and on this track, the art of the ballad is not only explored, but manifested.  Weeds’ warm, languid tone is a balm for whatever ails you, and the ensemble plays together as a one-celled organism.

Standouts include Jones’ Thedia – John Lee’s bass solo is brief but potent and the band just kills it at every opportunity – and the above mentioned Lullaby of the Leaves, adapted and transcribed by Fred Stride. Pianist Gestrin digs in, really getting into the chordal meat. Weeds is nothing short of exceptional here, and remains a guiding light in jazz. Bravo!