Hosokawa – Orchestral Works 2
Royal Scottish National Orchestra; Orchestre National de Lyon; Jun Märkl
Naxos 8.573276

Toshio Hosokawa is in some way a visual artist disguised as a composer. The three pieces on this collection of orchestral music bear a striking similarity of form; they remind me of St. Exupéry’s descriptions of his childish drawings of boa constrictors who swallowed elephants. The author never succeeded in conveying how fearsome these images were to him; Hosokawa’s music, on the other hand, delivers moments of awe and terror, bordered by serenity and contemplation.

Each work opens with a sustained unison B flat, shimmering and pulsing; eventually each arrives at a final unison elsewhere. Hosokawa rejects artifice and architecture, preferring the organic. He depicts development, origins, growth. The first piece, Woven Dreams, traces an imaginary passage from the womb. Blossoming II and Circulating Ocean are reflections on the natural world. In the liner notes he describes the signature unison openings as fluid, amniotic or aquatic. One hears birdsong and water droplets, earthquakes and storms.

Though Hosokawa’s forms have curved edges, his orchestral effects often jar. He discovers new dissonances through note bends and microtonal juxtaposition. Deep booming percussion nearly overwhelms. At times his orchestration reminds me of Schnittke, at others of Mahler. He will use the orchestra as a huge macabre organ and then exploit individual instruments for passagework.

Unlike his senior compatriot, Toru Takemitsu, Hosokawa chose to embrace rather than distance himself from his own culture. He often uses canonic melodic entries, often cascades in the treble winds. He refers to this technique as Oibuki, featured in a style of Japanese court music called Gagaku. Where Takemitsu was repelled by the militarism he witnessed as boy, Hosokawa worries his culture is too ready to adopt external models rather than grow from its own roots.

Two different orchestras supply the music, under the able direction of Jun Märkl, whose parents bridge the east-west musical divide, a German violinist for a father, his mother a Japanese pianist.

Silent Partner
John MacMurchy (johnmacmurchy.com)

Very often I receive a CD with all original material and it raises a warning flag. Will there be melodic and harmonic content that will stand a lot of re-listening? In this case I have no such doubts. Silent Partner is a thoroughly enjoyable program of original compositions played by groups of varying sizes and including contributions by Bruce Cassidy, flugelhorn and EVI, pianist Mark Kieswetter, guitarist Dan Ionescu, Ross MacIntyre, bass, Daniel Barnes, drums, and Alan Hetherington, percussion. They all make valuable contributions to the success of this recording.

As I mentioned the songs are all MacMurchy originals. He has a beautiful sound on clarinet and his compositions, whether ballad or up-tempo, are little gems. I particularly enjoyed the somewhat melancholy “The Stars Were Out Of Order” and “A Good Day To Be Happy.” In fact listening to this music helps to make it a good day. A superior recording by superior musicians. I highly recommend this CD.

Saloon Standard
Joe Coughlin & Mark Eisenman
indiepool JCJAZZ 008 (joecoughlinjazz.com)

With the release of Saloon Standard, veteran BC-based Canadian jazz vocalist Joe Coughlin and skilled pianist/arranger Mark Eisenman have done the near-impossible – created a triumph of a recording that not only celebrates the art of vocal jazz, but honours the symbiotic relationship between piano and voice, all the while thrilling us with 13 tracks that not only venerate the jazz “standard” but break our hearts with almost unbearable beauty and fathomless emotional subtext.

Although Coughlin and Eisenman (who have worked together since their 20s) have created a program of finely crafted ballads, there is no “pearls before swine” posing here. Whether Coughlin is plying his stirring, voluptuous baritone to the rarely performed movie theme, The Bad and the Beautiful (a tune that proved too vocally difficult for Tony Bennett, by the way) or plumbing the depths of heartbreak and renewal with Michel LeGrand/Alan and Marilyn Bergman’s You Must Believe in Spring, every note and every nuance is totally accessible and eminently satisfying... no gratuitous scat singing and other tasteless vocal grandstanding are welcome in the “Saloon” tradition of Joe Coughlin.

Other tasty tracks include Rogers and Hart’s You’re Nearer from the 1940 film Too Many Girls; a lilting, almost bluesy take on Bernstein/Comden and Green’s Lucky to be Me from the hit Judy Holliday musical Bells Are Ringing; Cole Porter’s romantic Dream Dancing (sung with the rarely performed verse) and Hague/Horwitt’s moving ballad Young and Foolish.

This CD is of such a high level of excellence that it would be well-served with a Part Two!

The Great Lakes Suites
Wadada Leo Smith
Tum Records Tum CD 041-2 (tumrecords.com)

Trumpeter/composer Wadada Leo Smith is one of the most ambitious and engaged creators in jazz. In 2012 he recorded his epic tribute to the American civil rights movement, Ten Freedom Years, a four-CD suite for his jazz quintet and chamber ensemble that had been over 30 years in the making. The same year he recorded Occupy the World, with the 22-member TUMO improvising orchestra. His Great Lakes Suites spans two CDs but the manpower is much more concentrated, a quartet in which Smith is joined by three masters: Henry Threadgill on reeds, John Lindberg on bass and Jack DeJohnette on drums.

Smith’s interest in the Great Lakes focuses on the contrast between their flat surface and their potential turbulence, along with aspects of transportation, communication and wave formation. The music is fittingly spare, at times unfolding with a declarative simplicity. The emphasis on stark solo voices – whether Smith’s trumpet or Threadgill’s saxophone or flute – conveys the drama of great natural forces. We are repeatedly drawn to his subject: an extended passage of rattling percussion in Lake Michigan might simply be a consequence of natural movement. Similarly a dialogue of bass and drums suggests all the creaks and activities of a dockside. There is never any sense here of imitative sound, but analogues keep arising for Smith’s compelling subject matter.

Like his other recent works, Smith’s Great Lakes Suites explores corresponding processes in music, history and geology. By finding musicians who can also sustain this extended meditation, Smith succeeds brilliantly.

Creating an entire program of integrated story and sound has long been a hallmark of western music. Just because the 20th and 21st centuries have given composers not only more instruments and modes to work with but also the possibility of adding aleatoric passages hasn`t lessened such projects’ appeal. Unlike the sometimes ill-conceived so-called jazz musicals of the past, today’s improvisers have the skills needed to link a coherent story line with creative sounds.

Science fiction in its many forms fascinates many of these composers and the appeal of Intergalactic Beings (FPE Records FPE 02 fperecs.com) is how composer/flutist Nicole Mitchell leads her ten-member ensemble in interpreting a theme that’s far from common. Mitchell’s nine-part suite uses vocal and instrumental emphasis to interpret the Xenogenesis trilogy of books by Octavia Butler (1947-2006), whose post-feminist Afro-futurism deals with racial and sexual ambiguity. Briefly Intergalactic Beings posits a post-apocalyptic world where the few remaining humans must mate with tentacle-grasping aliens with superior genes in order for humanity to survive. This obviously isn’t Hello Dolly or Chicago. Throughout the alternating lyrical soprano and guttural alto shadings of Mankwe Ndosi’s voice express the nuances of the tale, with tracks like “Cycle of Metamorphosis” including such phrases as “transformation to save the nation” to propel the storyline. As Ndosi’s verbal exposition moves through pseudo-orgasmic cries, renal murmurs and finally triumphant cosmic-like hallelujahs, the score is advanced by timbral dislocation. Chamber-like concentration, mostly from violin, cello and double bass, mates with tougher interjections from Jeff Parker’s flanging guitar twangs, crying triple-tongued melisma from David Boykin’s reeds, plus the composer’s tongue-fluttering, sometimes doubled by Renée Baker’s violin strokes. As concentrated multiphonics from the strings, horns and dual percussionists intersect in lumbering, gentling or staccato sequences intermingling sexuality is alluded to and resolved. The verbalized “hope is a memory” serves as a leitmotif for the adjoining Web of Hope/Fields of Possibility as marimba pops, trumpet bites and concentrated string sweeps presage the resolution. By the final The Inevitable, combative dissonance is put aside for a contrapuntal near-waltz from strings and vocalist. Fortissimo flute patterns backed by magisterial drum clunks and muted triplets from trumpeter David Young confirm the humanness remaining in the newly born third gender. A descriptive coda recaps the initial fragile human theme, with jagged note patterns toughening it to suggest the existence of a new identity – and corpus.

American literature with fantastical implants is the theme of Awaits Silent Tristero’s Empire (Singlespeed Music SSM-014 singlespeedmusic.com) by oboist/English horn player Kyle Bruckmann’s seven-piece avant chamber ensemble Wrack. The four-part composition suggests moods engendered by Thomas Pynchon’s best-known novels. Thematic, but not literal, the sometimes dour Pynchon would probably be surprised to hear how much buoyant humour Bruckmann has injected into his interpretations. “Gravity’s Rainbow” for instance moves from discordant vibrations pumped out by scrubbing strings and siren-like brass until a rim shot from drummer Tim Daisy pushes the theme into cabaret territory. From then on the piece bounces from broken triplet tones propelled by trumpeter Darren Johnston, a Burlington, Ontario native, backed by string hammering from bassist Anton Hatwich; to slurping tonguing from Bruckmann and bass clarinetist Jason Stein; through a folk-like stretch from violist Jen Clare Paulson, finally dissolving into barnyard-like cacophony with moos and caws mixed among instrumental tones. Retreating from tailgate slurs from trombonist Jeb Bishop, the final sequence suggests what would happen if a string duo was lost on the vast prairies. Wrack manages to add a contrapuntal tango beat from huffing horns and stolid double bass into “The Crying of Lot 49,” preceding Daisy’s scene-setting drumming with the same finesse exhibited in bass drum thumps, snare paradiddles and cymbal clanks. But it’s V, Pynchon’s best-known book which gets extensive treatment. Complex enough to zigzag through many themes and counter themes, the music reflects the book’s time-dislocated thesis. Highlights include, on the somber side, Bishop’s dark and dirty blues sequence that is accompanied by slap bass and two-beat drumming; and for a lively change of pace, Stein’s hyper-macho descending split tones that are eventually moderated by airy flutter tonguing from English horn and trumpet. In complete contrast is a midsection line that starts off Jazz Age processional yet ends up with freilicher-like joyousness propelled by parallel counterpoint from viola and oboe. The exaggerated swing that pops out here and there throughout the tracks, like raisins in cereal, is eventually regularized into a salutary conclusion.

With instant communication having moved from the stuff of sci-fi to everyday, Viennese flugelhornist Franz Koglmann’s satiric opera about marketing communications and big business is as topical as it is musically thrilling. With a libretto by Alfred Zellinger in English and German, Join! (ORF-CD 3177 shop.orf.at/1/shop.tmpl?art=6348&lang=DE), features a 19-piece orchestra and eight major singing roles. Throughout, the score, a cunning pastiche of Broadway musical conventions, burlesque rock’n’roll and pseudo-classical tropes plus jazz, is used to comment upon the action. The gloomy inverse of How to Succeed in Business, Join! follows the corporate machinations of company managers who want to transform society with its new product – an implanted microchip which allows the recipient to be universally connected. Sound familiar? Throughout, obbligatos including jeering trumpet smears and violin plucks underline and mock the characters’ self-satisfied arrogance. Listen to the pseudo-bluesy piano interlude that accompanies the marketing director’s plaint “Ich bin perfect;” or a string-strong operatic underpinning of a soprano’s hymn to “corporate responsibility, fair trade” and “the end of privacy.” At mid-point, swelling orchestral motifs reach a crescendo as the company sings: “Communication is our product/everytime, everywhere/wireless directly/from brain to brain/future is our business/a better life our promise.” Following a demonstration of the product by the soprano singing in a sexy German-accented purr: “My profile is updated/my inbox frequented…I have the chip and you can have it too/so join with me the New Society,” a rousing celebration of so-called intelligent design echoes from the company. Underlining the globalization of this totalitarian technology-commerce mix, Koglmann’s soundtrack includes fake Tijuana Brass mariachi styling played by garish trumpet and wheezy English horn, backing the model and product manager; plus when the chorus urges adherence to “the new society” while harmonizing in the manner of 1950s pop groups, the hand-clapping accompaniment includes Jerry Lee Lewis-styled piano slides and some rockabilly double bass slaps. Finally, following clashes with social activists and an insider trading scandal, given greater impact by harsh guitar flanges and dissonant horn breaks, those pressing for robotic transformation are put in their place. But with a dreamy cha-cha encompassing the composer’s flugelhorn obbligato leading to a tender duet between the C.E.O.-baritone and the microchip-implanted soprano, has the idea been thwarted or just delayed?

Ignoring literary and futuristic input, Italian composer Michael Lösch goes in the other direction with Heroes (Sweet Alps Productions michaelloesch.com). Commissioned by an Italian jazz festival, pianist/organist Lösch wrote a seven-part suite commemorating the Tyrolean Rebellion of 1809. Using a pocket orchestra of eight, prominently featuring American trumpeter Steven Bernstein, the suite is joyously post-modern and more jokey than jingoist. Most of the titles use a variant of the first name of Andreas Hofer (1767-1810), who led the rebellion against the French and Bavarian occupation. Following a few victories he surrendered, fled, was captured and summarily executed. A Louis Riel-like figure, over the years Hofer has become revered as folk hero and patriot. With the program only reflected in the titles, Lösch’s pieces stand on their own, with many – especially the punning introduction “Ander Title” and the equivalent conclusion “Ander Water” – expressing a mixture of Italian folk dances, Austrian oom-pah and heroic pseudo-marches featuring organ accents that could come from 1960s private eye TV shows. At the same time because it’s a contemporary suite, sophisticated references to other situations are added via performance visuals (seen in the booklet) plus snatches of speeches, poems, gunfire and voices on a couple of tracks. Alto saxophonist Florian Bramböck’s sharp edges suggest the rebellion’s triumphant moments and baritone saxophonist Helga Plankensteiner’s deep lowing the more melancholy ones. No matter how cacophonous the style mixing and pacing becomes, pushed at its speediest by the ringing flanges and pulsating electronics from guitarist Enrico Merlin, forward motion is never lost. Beside the composer’s sympathetic piano comping or organ smears, Bernstein leaps like a mountain goat over the contrapuntal program using warm flutter tonguing or muted grace notes to herd stray sounds and keep things exciting.

Whether they’re celebrating the past or exploring the future, thematic compositions continue to be a part of jazz-identified music. Followers of the genre that mixes a story with well-played music would be advised to look beyond traditional sources to investigate unanticipated gems like the sessions here. 

Several Toronto musicians have recently released projects that play creatively with genre expectations. Bassist Michael Herring and guitarist Don Scott formed Peripheral Vision in 2008 as a vehicle for their compositions and a contemporary fusion style that incorporates jazz elements with sometimes rock-derived rhythms and a full complement of guitar pedals. They’re joined on Sheer Tyranny of Will (peripheralvisionmusic.com) by tenor saxophonist Trevor Hogg and drummer Nick Fraser. The interest in composition is real and the concentration on the music’s total effect extends to the judicious use of studio resources: both Herring’s “Wiretap” and the title tune develop complex moods through contrasting segments and Scott’s overdubbed guitar parts. Peripheral Vision may be at its best, though, on simpler material: “Charleston Heston” has a tremendous buoyancy, with Scott and Hogg floating aloft on the rhythmic verve that Herring and Fraser can generate.

Since emerging in the group Chelsea Bridge two decades ago, Nova Scotia-born singer Tena Palmer has not just welcomed new challenges and repertoire but sought them out, whether it’s an expedition into free improvisation, an evening of bossa nova or her own blends of jazz and Celtic music. Holy Heart of Me (TLP 002 tenapalmer.net) is a collection of original songs recorded in Iceland with a band called T.I.N.T., or There Is No Them. It would be difficult to corral it into any single genre, whether some subset of folk, rock, pop or jazz, but it’s all imbued with an expressive intensity in which the sensuous and spiritual blur into one another. The frameworks, created largely by guitarist Hilmar Jensson and percussionist Matthias Hemstock, tend towards almost hypnotic, minimalist electronica, spare fields that set Palmer and her songs in stark relief. While Palmer and Jensson might easily carry it all, there are some wonderful guest appearances, among them New Brunswick cornetist Roland Bourgeois on “Golden Rod” and Icelander Omar Gudjonsson playing burbling sousaphone on the title track.

Named a “trumpeter of the future” by DownBeat magazine a few years ago, Lina Allemano has touched many of the usual bases, from playing with big bands like NOJO to a host of small bands. Her best vehicle has undoubtedly been her own quartet Four, releasing five CDs of increasingly distinguished and distinctive free-bop over the past decade. While that band continues – joyously so – Allemano is also taking other paths, exploring free improvisation in Europe and studying extended trumpet techniques like multiphonics and circular breathing. The fruits of those explorations are apparent in the first release by her new group Titanium Riot. On Kiss the Brain (Lumo Records LM 2014-6 linaallemano.com), Allemano is a central organizing intelligence set free in imaginative soundscapes created by the bleeps and whistles of Ryan Driver’s analogue synthesizer, Rob Clutton’s churning bass and Nick Fraser’s randomizing percussion. She emerges as a trumpeter of the future more clearly than ever before, a probing, thoughtful improviser who can create form with a few well-placed blasts. The music is as surreal as the names of the pieces, the muddy antique organ tones of “Nose-Coloured Glasses” as oddly compelling as the piece’s title.

Meanwhile in Montreal, bassist Nicolas Caloia is responsible for one of the great institutions of current Canadian jazz, the Ratchet Orchestra, a sprawling ensemble of up to 30 musicians that for more than two decades has been defining its own identity while paying tribute to the exotic space music of Sun Ra. It’s hard to imagine Caloia’s vehicle reduced to an all-star quartet, but that’s precisely the case with Tilting in which the bassist is joined by Jean Derome on baritone and alto saxophones and bass flute, pianist Guillaume Dostaler and drummer Isaiah Ceccarelli. When guests arrive – bass clarinetist Lori Freedman and alto saxophonist Yves Charuest – they too are members of Ratchet Orchestra. On Holy Seven (Barnyard Records BR0336 barnyardrecords.com), Tilting approaches jazz from an oblique angle, from its devotion to low frequency horns, insistent ascending patterns, moderate tempos and lumpy rhythms, all highlighted and exaggerated by Dostaler’s piano which seems to present every chord as equal part speculation and dare. The music is filled with rare emotion, whether it’s a haunted blues or a listing joy, testament to the band’s strong sense of communication and purpose as well as Derome’s singular power on baritone.

The Montreal mainstream is well represented by two very different pianist-composers’ new releases on the Effendi label. On Essences Des Bois (Effendi Records FND131 effendirecords.com), Yves Léveillé puts composition and orchestration solidly in the foreground, crafting strong melodies and moods for a septet that features a quartet of different winds, most of them high pitched. With Roberto Murray on soprano and alto saxophones, François Richard on flute and alto flute, Marjorie Tremblay on oboe and English horn and Simon Aldrich on clarinet and bass clarinet, Léveillé develops ensembles that are both light and distinctive. His work often has the character of chamber music (Les Six come to mind), enhancing its cool jazz dimension with more current modal harmonies. Each of the players is an accomplished soloist, evident here in individual features. While it’s often pleasant enough to drift toward the background, sudden inspired bursts keep a listener engaged.

Working in a more conventional quintet format on Tome 3: Errances (Effendi Records FND132), Vincent Gagnon brings great energy, drive and spontaneity to his work, whether exploring extended ballads or dense up-tempos, often with a Middle Eastern tinge. He has a powerful rhythm section in bassist Guillaume Bouchard and drummer Michel Lambert and a fine saxophonist in the smooth-toned Alain Boies, but it’s really tenor saxophonist Michel Côté who draws the most attention other than the pianist. Côté has a distinctive sound, a rough gauze-like quality that’s especially effective on Gagnon ballads like “Ce qu’il reste de la nuit” and “Parfois l’aube.” Gagnon uses repeated phrases in his solos, building tension and a cumulative energy that presses this music forward. It’s particularly effective on “Baltique Karma. ”

Clarity – Music of Clare Fischer
Roseanna Vitro
Random Acts Records RAR1016CD (randomactrecords.com)

With the passing of gifted Los Angeles-based composer/arranger/keyboardist Clare Fischer, not only did El Lay lose one of its top creative innovators, but the international music community also lost an artist who, since his 1962 LP Bossa Nova Jazz Samba with the late Bud Shank, had consecrated himself to the genres of Afro-Carribbean, Brazilian and a wide variety of Centro/Sul American Musics – notably represented in his 1981 GRAMMY-winning Clare Fischer and Salsa Picante Present 2 + 2.

With the release of her latest recording, NYC jazz vocalist/educator/composer/arranger Roseanna Vitro (along with producer Paul Wickliffe) has not only framed a gorgeous tribute to the work of Fischer, but has successfully expanded the jazz canon by deftly mining the exquisite, harmonically complex music that is Clare Fischer’s legacy. The CD includes six of Fischer’s never previously sung compositions (some with new original lyrics), and is also the first and only vocal book developed by a solo singer of his music.

Accompanying Vitro on this remarkable journey are her longtime collaborators, including pianist/arranger Mark Soskin as well as Weather Report percussionist Mino Cinelu. Standout tracks include a fresh, percussive, scat-filled take on “Morning” and also “Life’s Journey,” which features a complex, rhythmic arrangement and dynamic work by violinist Sara Caswell and pianist Soskin. One track stands alone in its perfection – the deeply moving ballad “Sleep My Child,” a flawless musical diamond around which Vitro wraps her rich, luxurious contralto.

Vitro is not only a consumate jazz vocalist, but through the auspices of this important artistic project, she has also emerged as a true conservateur and curator of jazz.

Overheard Conversations
Glen Hall; Bernie Koenig
Slam Productions CD 552 (slamproductions.net)

A reflective and comfortable musical conversation between reeds and percussion, the dozen brief duets by Toronto saxophonist/flutist Glen Hall and drummer/vibraphonist Bernie Koenig from London, Ontario have all the hallmarks of overheard dialogue. Some interjections are predictably of paramount interest to those involved; others, which stretch the capacities of the instruments and musicians, are as insightful as discussions from more formally organized sessions. Seemingly recorded in real time, luckily the discourse intensifies as it evolves.

While Hall gradually defines his parameters with tenor and soprano saxophone slurs and smears via John Coltrane’s influence, Koenig’s drum pulses are a bit more rigid, not really coming into strong focus until – and perhaps because of – “Time for a Stiff Drink.” Mixing martial-like ruffs with supple rolls, he meets Hall’s mellow elaborations head on and effectively. From then on sound snatches capture a wide-ranging conversation. Snaky bass flute timbres countered by off-centre plops suggest Arabic music on Trust Me, while rugged reed split tones attain screaming heights on “Things Are Looking Up” though the drummer’s carefully paced beats keep the theme chromatic. Additionally the whap of sticks on Mylar and wood during “Look at Her!” insinuate two percussionists at work as Hall’s altissimo snarls create a fanciful verbalization of overbearing Buddy Rich strokes backing “Caravan” played by Albert Ayler.

Like old friends winding down their conversation before they part, the reedist and percussionist save their excursions into chamber jazz for the last few duets. With Koenig’s sparkling vibraphone strokes attaining sonorous swing, the unique multi-colours Hall sources from his flute on tunes such as “I Understand Why You Are So Melancholy” reflect the skills of these sophisticated communicators who can comfortably express emotions instrumentally.

Concert Note: Glen Hall’s Rub out the Word: A William S. Burroughs Centennial Event is at The Music Gallery November 7.

Sanata: Stillness
Kiran Ahluwalia
Independent MTM-CD-930 (kiranmusic.com)

The release of Indian-Canadian singer and songwriter Kiran Ahluwalia’s sixth album Sanata: Stillness, provides copious confirmation that her songs are “one of global music’s most interesting adventures.” Ever since Ahluwalia‘s first CD in 2001, it seems each new album marks new regions of personal musical growth, accompanied by evolving instrumentation and stylistic components. Recorded in Toronto, Sanata, as does her touring group, features some of the city’s top world musicians. Among them number percussionist maestro Mark Duggan and bassists extraordinaire Rich Brown and Andrew Downing.

In my September 2014 WholeNote cover feature on Ahluwalia, I observed that her geo-musical expansiveness is a result “of her careful listening to yet another [geo-cultural] zone of our world. She has [further] shown a continued eagerness to contest the borders of her musical comfort zones in live performance.”

Sanata provides ample proof of that process of exploration and synthesis at work. We hear Ahluwalia’s signature masala of her unique interpretation of Indo-Pakistani ghazal and Punjabi folk song, rendered in her expressive yet unstrained vibrato-less voice. It’s hung on a solid backbone of years of classical Hindustani musical training. Her gift for crafting catchy melodies is evidenced in her songs; I’m guessing a key feature in their audience appeal.

Another significant strand is the addition of pungent echoes of Saharan blues guitar, as in her award-winning 2011 CD Aam Zameen: Common Ground. It grounds the title track and also propels “Hayat” with a swaggering groove at just the right tempo. The superbly supple electric guitar accompaniments are provided by her American husband Rez Abbasi, who is also the album’s arranger and producer. Abbasi gets a chance to show his ample jazz guitarist cred in his “Tamana” solo and elsewhere.

While the album is carefully woven together with jazz-forward and sometimes rock-infused arrangements, “Jhoom” and “Lament,” the two songs in the qawwali tradition, return the album’s musical topography and transport the listener – via many transcontinental byways – to the Subcontinent.

Animism
Tanya Tagaq
Six Shooter Records (tanyatagaq.com)

This album is a profound exploration of transcultural confrontation and transformation as expresed through the magical qualities and healing power of sound. Featuring the brilliant vocalism of Inuk avant-garde throat singer Tanya Tagaq, Animism synergistically merges her indigenous rights activism with the expressive force of her art. Not simply a typical “wordless protest album” however, its release promptly caused significant critical acclaim. To cap it off, Tagaq won the 2014 Polaris Music Prize, presented annually for the “best Canadian album regardless of genre or sales,” becoming its first indigenous recipient.

To be sure, the involvement of the polished improv-based musicality of her regular accompanists, Toronto drummer Jean Martin and the B.C.-based violinist, producer and arranger Jesse Zubot, is essential to every track.

Tagaq’s vocal art lives in zones of layered, multiple hybridity, a foundational feature of which is her free improv performance strategy. Paradoxically however, this CD’s first song is a cover of the Pixies’ “Caribou” (1987) sung in a “standard” (that is non-throat singing) voice by Tagaq and masterfully arranged with the addition of synth, horn and string parts by Zubot. Comparing it to the original Pixies’ recording, I prefer this album’s extended version, still rocking in sections yet musically convincing us without strumming a single guitar chord.

The pop-oriented “Caribou” is an exceptional case here, however. Other songs like Rabbit propose an almost cinematic soundscape. Atop field recordings of northern soundscapes by Michael Red, and Zubot’s significant contributions, Tagaq’s vocalise transforms itself effortlessly from human to animal sounds and back.

The music on the innovative Animism, though sonically and emotionally rooted in the arctic, is nevertheless poised to move audiences no matter where they live.

The Originals (Deutsche Grammophon 4793449), 50 CDs in the now familiar compact cube, is an exceptional collection of outstanding performances from the second half of the 20th century that are significant in three aspects: repertoire, performance and sound. The composers range from Bach to Orff performed by artists who were acknowledged masters of the works chosen for inclusion in this edition beginning with Bach – the Oistrakhs’ Violin Concertos and Pierre Fournier’s Cello Suites; Beethoven with the Fifth and Seventh Symphonies by Carlos Kleiber; the Sixth from Böhm and Karajan’s 1963 Ninth. Wilhelm Kempff plays the fourth and fifth concertos (BPO/Leitner) and four sonatas.

Throughout the 50 discs, the reality of the remastered sound is a revelation and at times startling. For example, the patrician performance of the Mahler First with Rafael Kubelik, taken from his complete edition, is a reminder of this conductor’s always intuitive readings of whatever he conducted, heard here in freshly minted, realistic sound. Carl Orff’s remarkable Carmina Burana received its definitive recording in October 1967 conducted by Eugen Jochum under Orff’s personal supervision with an all-star cast including Gundula Janowitz, Gerhard Stolze and Dietrich Fischer-Dieskau. That recording, heard on disc 33 of this set, is a model of remastering, sounding a tad cleaner than the original Originals single CD.

Karl Böhm’s entries include his celebrated versions of Magic Flute, Tristan and Isolde and the late Mozart symphonies. This set is a well-considered collection of close to 100 works of symphonic music, concertos, chamber music, instrumental solos and vocal music of interest to music lovers and audiophiles alike. Check out full contents on the DG site and listen to samples from every track in the set at deutschegrammophon.com/en/cat/4793449.

Ask the average music lover if they like Rachmaninov and the usual answer is a knowing yes. They mention the Rhapsody on a Theme of Paganini and the Second Piano Concerto and perhaps the Prelude in C-Sharp Minor. Then they are obliged to repeat the usual demeaning put-down about the four piano concertos being merely one concerto orchestrated four times. What a surprise then that Decca could devise a 32 CD set of Rachmaninov: The Complete Works (4786765) performed by top-notch orchestras and conductors, chamber groups, choruses, soloists et al., recorded over the years when the performers were in their prime.

Disc one, track one is, rather appropriately, the aforementioned prelude played by Vladimir Ashkenazy followed by the complete Op.23 and Op. 32 Preludes. Ashkenazy is featured many times in the collection both as pianist and conductor. Some of the works he plays are the four piano concertos and the Paganini Variations all conducted by André Previn; the First and Third Symphonies, the Symphonic Dances, the “Youth” Symphony and The Bells, all with the Concertgebouw Orchestra. The symphonic poems, Prince Rostislav and The Rock and Five Etudes-Tableaux (orchestrated by Respighi), the Scherzo in D minor, and Vocalise are all with the Sydney Symphony Orchestra. On disc 32 Ashkenazy very frankly discusses Rachmaninov and his music.

There are many other artists, of course, Mikhail Pletnev, Sviatoslav Richter, Zoltán Kocsis, Jorge Bolet, Alexis Weissenberg, Martha Argerich, Nelson Freire, Byron Janis, the Beaux Arts Trio, Olga Borodina, Neeme Järvi and many others. Here is the chance to get to hear the entire published works by Rachmaninov including all the operas and not to be missed, the complete songs sung by Elizabeth Söderström. Complete contents and excerpts can be found at deccaclassics.com/en/cat/4786765.

Thirty-five years after her premature death at the age of 54, Hungarian violinist Johanna Martzy is still an icon among violin aficionados and record collectors. In addition to a spectacular concert career, working as soloist with luminaries such as Bernstein, Szell, Cluytens, Fricsay, Kletzki and Sawallisch, Martzy was featured as a recording artist of two of the world’s leading companies, Deutsche Grammophon and EMI. In addition to these recordings, documents of her live performances are much sought after. DOREMI has issued a third volume of mostly unreleased live performances and radio broadcasts (DHR-8034/5, 2 CDs). Gems include a 1959 radio recital from Johannesburg, preserved in pristine sound of works from Vivaldi to Bartók. A pleasant revelation in these tracks is her empathetic partner, the South African pianist, Adolph Hallis (virtuoso pupil of Theodor Leschetizky). Here is real music making! Also heard are two stylish viewpoints of Mozart’s third violin concerto (both 1961) and an impassioned Bartók’s First Rhapsody with George Szell (Cleveland 1960). The set ends with the finest performance I know of Suk’s Four Pieces for Violin and Piano, Op.17. In this sparkling performance from 1969 she is partnered by the fine Hungarian pianist, István Hajdu (Arthur Grumiaux’s accompanist).

Similar to the repertoire presented in volumes one and two, DOREMI’s Martha Argerich Volume 3 (DHR-8030) includes her live performances when around age 20. Argerich shot to world fame when she won the 1965 Chopin Competition in Warsaw. She has maintained her status to this day and listening to her early performances, her magic was already in evidence. Over her long career, she came to prefer presenting music with others, playing in chamber groups and as soloist with orchestra. This CD opens with a vivacious rendition of Beethoven’s Piano Sonata No.7 Op.10, No.3 in which the Largo is uniquely introspective and, as they say, worth the price of the disc. Then an elegant Schumann Kinderszenen and an animated Toccata Op.7 and Liszt’s Hungarian Rhapsody No.6. Finally, a brilliant performance of Prokofiev’s Third Piano Concerto accompanied by Carl Melles conducting the Cologne Radio Symphony Orchestra. The sound throughout the disc is first-rate.

Chopin – Complete Mazurkas
Janina Fialkowska
ATMA ACD2 2682

Chopin – 24 Preludes
Alain Lefèvre
Analekta AN 2 9287

Chopin – Preludes
Ingrid Fliter
Linn Records CRD 475

In the ridiculous horror-parody film, Attack of the Killer Tomatoes, the bloodthirsty veggies can only be defeated when shown the sheet music of Donny Osmond. That makes them explode in fear. In the real world, the truly scary scores are those of Frédéric Chopin. The sheer complexity of the writing, the crowded added lines and bars bursting with fractal notes are enough to send a casual, sight-reading pianist scrambling. Chopin’s music requires a lot of great technique, to be sure. But technique alone is not enough – the best example of that is the pianist that this reviewer calls Bang Bang in obvious reference to his overuse of the forte pedal. Lots of bravado there, but very little heart and soul.

In fact, I would venture to say that the music of Chopin is a lot like wine – it is a result of the terroir, the quality of grapes and the winemaking technique. As for terroir, there is something magical when one hears that music at the Royal Baths Gardens in Warsaw, near the statue of Chopin (wrapped by two bronze weeping willows) or at Chopin’s family cottage in Zelazowa Wola, where his alleged piano is still in working order. Alas, that’s a pleasure not accorded to many. Still, there is something uncanny in the ability of Polish pianists to re-capture that ever-important terroir. Then there are the grapes – the beauty of Chopin’s writing was that no piece, no matter how slight, could be considered minor. The Minute Waltz, the Preludes, the Mazurkas or songs, regardless of length, command attention equal to that of the Piano Concerti. If all his scores are difficult, then the Mazurkas are particularly so, as their intuitive, internal rhythm has tripped up many a virtuoso. There is a reason, after all, for a separate award category for Mazurka interpretation at the Chopin International Piano Competition – a prize so elusive, that on several occasions it was not awarded. Finally we come to the winemaking technique. All three of the pianists in this review are no amateurs and their technique can be vouched for by the international prizes they have garnered – Ingrid Fliter was a silver medalist of the 2000 Chopin Piano Competition, Janina Fialkowska won the inaugural 1974 Arthur Rubinstein competition and Alain Lefèvre scored a JUNO, Prix Opus and ten (That’s ten!) Prix Felix. So, how do they fare?

All three discs are a true delight – so any criticism that follows will be merely an exercise in splitting hairs.

If I were to pick the weakest link, it would be the Argentine-born Ingrid Fliter. Though some would argue that hers is the finest technique of the three, her approach to Chopin is almost too conservative and because of that it seems fearful. No room for fear when playing Chopin – this is a counterphobe’s territory. I would also add that despite her triumph at the Warsaw competition, her recording pays the least homage to the actual terroir of the music. A notable exception is the “Raindrop” Prelude – possibly the best performance I have heard in years.

Lefèvre is fearless and bold, taking no prisoners in his approach and perhaps losing some clarity in the process. However, by leading with the heart, you cannot lose when playing Chopin.

Finally, Fialkowska is in fine form, proving once again that it is the combination of emotional presence, technique and experience or the grapes, terroir and winemaking, that delivers the stunning results. Hers is the crown of Mazurkas, those frustrating, intimidating gems that Schumann called “cannons under flowers” referring to their potent political message dressed as “small” piano pieces.

I have not often experienced epiphanies in this life. The first I remember was as a teenager on a family holiday which took us to Washington, D.C. and included a visit to the National Gallery of Art where, wandering off on my own, I turned a corner and found myself face to face with Salvador Dali’s The Sacrament of the Last Supper. That was a profoundly moving moment and all at once I understood what was meant by the term masterpiece. That would have been in the late 1960s. The next came in 1984 while attending the finals of the CBC National Radio Competition for Young Composers. That year the only prize awarded in the electronic music category went to Paul Dolden for The Melting Voice Through Mazes Running. Although this extremely dense and dynamically intense work drove a number of people from the hall with fingers plugging their ears, I was enraptured by its visceral power. It was that work which inspired me to commission radiophonic works for my program Transfigured Night (1984-1991) at CKLN-FM. With the assistance of the Ontario Arts Council and later the Canada Council I was able to commission a dozen composers, beginning with Dolden who produced Caught in an Octagon of Unaccustomed Light which went on to win the Third Prize of the Luigi Russolo International Competition (Varese, Italy 1988).

Some 30 years later Dolden is still at it, honing his technique which involves recording and layering hundreds of tracks of instrumental and vocal sounds, and more recently including field recordings – cicadas, grasshoppers and crickets in the current instance – to create works of vast sonic complexity. The predominantly acoustic nature of the sound sources – although there is an extended electric guitar solo included here – is integral to his process which, while using technology to stack the layers, does not manipulate the samples electronically thereby leaving the purity of sound intact. In essence Dolden, who plays most of the instruments himself, creates and conducts a vast orchestra which could not exist in the everyday world.

Paul Dolden’s latest release, Who Has the Biggest Sound? (Starkland ST-220 starkland.com), includes two titles. The somewhat tongue-in-cheek, or at least playfully self-referential, title track which includes a narrator (Dolden) asking questions such as “Who can play the fastest? Who has the dreamiest melodies? Who can talk faster: crickets or man?” was co-commissioned by Réseaux des arts médiatiques (Montreal) and Diapason Gallery (New York). Although the narration seems a little condescending and self-indulgent, the layered textures that constitute the bulk of the composition are incredible to behold, or more accurately, behear.

The companion piece, The Un-Tempered Orchestra, commissioned by the Sinus Ton Festival (Germany), takes Bach’s exploration of the equal-tempered tuning system in the Well-Tempered Klavier as its point of departure. Whereas Bach demonstrated the viability of the then new symmetrical division of the octave into 12 equal steps, Dolden’s intention is to establish a “non-symmetrical building which uses non-tempered tuning systems, many of which have no octaves […] to create a new musical space within which Western and non-Western musical practices can co-exist […] a big modern multi-cultural family.” He goes on to say “In order to construct this house, first I wrote simple diatonic melodies and chord progressions. Then I recorded Eastern and Western performers reading these lines in their native dialect or tuning system. With the aid of new technologies I edited all these performances to fit under one symmetrical roof. […] Specifically we see our current Western [style] of playing reflected back to us and distorted by ancient musical tuning systems. By combining different musical languages and styles we invert time: what is old becomes new and vice versa. Please enjoy these moments of musical transcendence.” I know I did, but buyer beware. These sounds are big, bold, brash and often abrasive, and listening is not recommended for the timid.

In brief:

In 2012 renowned countertenor Daniel Taylor, head of the Early Music department at the University of Toronto, founded the Schola Cantorum. In its first two seasons this ensemble has already achieved remarkable success, appearing with the likes of the Tallis Scholars (2012-2013) and the Gabrieli Consort (2013-2014). The Heart’s Refuge,a recent Analekta recording (AN 2 9143),features both this choir and Taylor’s long-established Theatre of Early Music in vocal works of Buxtehude, J.C. Bach, Kuhnau and Bruhns as well as a short instrumental selection by Schmelzer. Recorded at Humbercrest United in April 2013, the sound of the five vocal soloists, 20-voice choir, strings and continuo is superb, with none of the purity and clarity of the period performance lost in the natural resonance of the church’s glorious acoustic. Concert note: On November 9 the choir and orchestra of the Schola Cantorum and the Theatre of Early Music present “The Coronation of King George II” under Daniel Taylor’s direction at Trinity College Chapel.

Beyond Shadows, the latest release from Vancouver’s Redshift Records (TK432 redshiftmusic.org), features The Nu:BC Collective, an ensemble-in-residence at the University of British Columbia comprised of flutist Paolo Bortolussi, cellist Eric Wilson and pianist Corey Hamm. The group is often supplemented by guest artists, including clarinetist Cris Inguanti and percussionist Brian Nesselroad on this recording. The disc features existing works by two Americans, Dorothy Chang (who currently teaches at UBC) and Marc Mellits, and pieces composed specifically for the ensemble by two Ontario-born composers who both now make Montreal their home and teach at McGill University, Brian Cherney and Chris Paul Harman. Chang’s title work, written in 2008 for the Stoney Brook Contemporary Chamber Players, is for clarinet(s), cello, percussion and piano (with Bortolussi conducting), is a busy piece which takes place predominantly in the lower registers of the instruments with interesting textures and juxtapositions. Harman’s Doubling from 2007 adds clarinet to the core ensemble and as the title suggests incorporates a lot of unison work in a playful game of tag. Mellits’ 11 Pieces for Flute and Piano (1992) explores a variety of moods as the individual movement titles indicate: i.e. Persistent; Distraught; Languid, Frantic etc. The most recent work, and also the only one to feature just flute, cello and piano, Brian Cherney’s Twenty-Two Arguments for the Suspension of Disbelief (2010) is to my ear the most satisfying. Dark and probing, it goes beyond the level of the other works which, accomplished though they are, lack the depth and introspection of Cherney’s polished gem.

Moses Pergament – The Jewish Song (Caprice Reissue Series CAP 21834) was recorded live at the Stockholm Concert Hall in 1974 and originally issued on LP in 1976. It features vocal soloists Brigit Nordin and Sven-Olof Eliasson, the Stockholm Philharmonic Choir and Royal Stockholm Philharmonic Orchestra under the direction of James DePriest (who served as music director of the Orchestre Symphonique de Québec from 1976 until 1983 and was Director Emeritus of Conducting and Orchestral Studies at the Juilliard School and Laureate Music Director of the Oregon Symphony at the time of his death last year). Pergament (1893-1977) was born in Finland of Lithuanian Jewish stock (the name Pergament, or vellum, came from his great-grandfather’s occupation, Torah scribe). He studied composition and violin in St. Petersburg and settled in Sweden in 1915 where he became well known as a music critic before establishing himself as a composer. The mammoth cantata The Jewish Song for vocal soloists, chorus and large orchestra was composed in 1944 on poems by Ragnar Josephson in which “the skald (poet) sings of the Jewish people’s devotion to God, its piety, its past, its heroism, its bravery, its trust and thankfulness for the protection of the Lord.” The stunning 75-minute work opens with Prelude: In Memoriam – a dramatic wordless lament for the six million Jews “who fell victim to the cruelty of the Third Reich” and continues with settings of a dozen poems culminating in a moving We Thank You Lord. Pergament is sadly underrepresented by recordings and this important re-issue of the dramatic, uplifting and exhilaratingly performed work is a welcome addition to the catalogue.

Through Time featuring bassoonist Rui Lopes and the English Chamber Orchestra (Solo Musica SM 211 solo-musica.de) presents little-known works from the first half of the 20th century juxtaposed with more familiar fare by Mozart and Vivaldi. Lopes is an acknowledged master of the baroque and modern bassoon and both are heard to advantage here. The disc opens with a charming Portuguese folk-based work by Heitor Villa-Lobos followed by the playful Divertissement by Jean Françaix originally scored for bassoon and string quintet, heard here in the world premiere of a string orchestra version. The Bassoon Concerto in B-Flat K191 was composed at the age of 18 and was Mozart’s first concerto for a wind instrument. Written shortly after the Symphony No.29, like that work it represents an early example of the composer’s mature orchestral sound. Lopes contributes his own virtuosic cadenzas. The Vivaldi C-Major concerto is also virtuosic, ebullient and wonderfully melodic. The disc ends with Edward Elgar’s Romance for Bassoon and Orchestra, Op.62, a lush work which brings me to my only criticism of this otherwise flawless disc. In a way the Elgar brings us full circle back into the early 20th century, but despite its warm and lyrical nature, on each listening I found it jarring after the flamboyant Vivaldi. Perhaps it would work better as an encore after a rousing round of applause to clear the palette, but in the context of the disc I would have preferred the journey “through time” to be linear rather than circular.

David Olds, DISCoveries Editor
discoveries@thewholenote.com

Verdi & Wagner – The Odeonsplatz Concert
Rolando Villazón; Thomas Hampson; Bayerischen RSO; Yannick Nézet-Séguin
Cmajor 716708

Last July to celebrate the bicentennials of Verdi and Wagner, a huge outdoor concert took place in Munich, the Bavarian capital with obvious connections to Wagner and his royal patron, Ludwig II. The show was held in Munich’s epicentre, the vast quasi-Renaissance Odeonsplatz, under an arcaded loggia large enough to house a full symphony orchestra and chorus. The loggia, full of allegorical symbols of German glory and guarded by two fierce-looking stone lions, was lit in glorious colours to suit the mood of each item performed.

Curiously enough the two singing stars, tenor Rolando Villazón and baritone Thomas Hampson, apart from some Massenet, sang mostly unknown and second rate Verdi (I would seriously question the inclusion of an aria from Il Corsaro, Verdi’s worst opera that even the Maestro himself hated outright) and only one Wagner, the Ode to the Evening Star from Tannhäuser beautifully sung by Hampson and timed perfectly to coincide with the evening shadows descending over the square. In Verdi I felt the only major success for the soloists was the “Liberty” duet from Don Carlo. Even Massenet was better represented.

Fortunately the most resounding hits were the orchestra and chorus with some of Verdi’s and Wagner’s finest choruses and overtures, led with aplomb by Montrealer and now world-renowned conductor, Yannick Nézet-Séguin. His youthful exuberance was infectious and he brought out idiomatic and superbly pointed performances like the rousing Entry of the Guests amplified by the wonderful natural acoustics so that it must have been heard all over Munich. Electricity was in the air and everybody noticeably sat up and listened, except perhaps for those morose stone lions.

Fauré – Requiem; Cantique de Jean Racine
Gerald Finley; Tom Pickard; Choir of King’s College Cambridge; Orchestra of the Age of Enlightenment; Stephen Cleobury
Choir of King’s College Cambridge KGS0005

While one wonders what yet another recording of Fauré’s Requiem will bring to light, the Choir of King’s College Cambridge is the first to record Marc Rigaudière’s new reconstruction of the earliest complete liturgical performance of the Requiem, essentially recreating the work’s premiere, including the organ stops from L’église de la Madeleine in Paris. Also, the incorporation of instruments and techniques typical of those of a French orchestra of the late 19th century are used to great effect by the Orchestra of the Age of Enlightenment. As a result, the performance does convey quite a different character than others; somehow even more gentle and contemplative in nature through the use of slower tempi and extremely controlled, even subdued choral passages, with the exception of the Dies Irae.

Chorus alumnus Gerald Finley’s gorgeous bass-baritone solos are wonderfully dramatic. In fact, the original version uses fewer dynamic markings. After a full performance of the original work, the choir presents a contrasting version of the Offertoire, edited by John Rutter, quite unique in and of itself and extended in Fauré’s 1900 version with the chorale O Domine. Also included on the CD is a lovely performance of Cantique de Jean Racine in its original version for choir and organ and Messe Basse, originally composed for women’s voices, sweetly rendered by the choir’s trebles.