Immigrant
Fuat Tuaç; Kevin Turcotte; Eric St-Laurent; Jordon O’Connor; Eric West
Independent (fuattuac.bandcamp.com/album/immigrant)

Accomplished, multi-lingual vocalist and composer, Fuat Tuaç, has just released his new CD, and it does not disappoint. Tuaç wears several hats here, as composer, arranger, producer and artist. He has also surrounded himself with his talented long-time collaborators, guitarist Eric St-Laurent, bassist Jordan O’Connor, drummer Eric West and trumpeter Kevin Turcotte. As the title would suggest, Tuaç explores his Canadian immigrant experience here, as well as the contemporary social ethos in the depersonalized era of technology. Included in this well-crafted project are two vocal duets: the sexy cool Chez Moi, sung en française with the exquisite Montreal-based chanteuse, Kim Richardson and Uzun Ince Bir Yoldayim, rendered in exotic, evocative Turkish (Tuaç’s native tongue) and performed to perfection with noted Turkish vocalist, Yesim Akin. Both duets illustrate Tuaç’s taste and musical skill and are highlights of the recording.

The compelling opener, No Strings Attached (a Tuaç original), is a groovy, jazzy ode to the often confusing nature of romantic relationships in these troubled times and Asla Unutamam is a delicious Turko-bossa, featuring a stunner of a trumpet solo from Turcotte. Tuaç soars as a vocalist here – defining his style, sound and approach. The very personal title track is a hopeful, and yet melancholy portrait of the courageous individuals who have eschewed or fled their homeland in order to manifest a life of creative and personal freedom – and the challenges, confusion and joy that is part of that journey. Tuaç imbues the track with his deep emotional experience, as well as a superb vocal. Moss Park… is another standout, a disturbing exploration of our own very Canadian, urban inhumanity.

Listen to 'Immigrant' Now in the Listening Room

A Giving Way
Peggy Lee Band
Songlines SSL1636-2 (songlines.com)

The cellist Peggy Lee has been – with The Peggy Lee Band – very prolific in a composing career that has stretched across several years and, with A Giving Way, six riveting albums. Her work is always deeply thoughtful and often radiantly effusive, a sort of synthesis with masses of seething counterpoint set in a seemingly perfect acoustical sound-world. The songs played here are typical of the elegant compositions, innovatively interpretated, with richly laced textures and extravagant climaxes by musicians who – by virtue of their long-term association with Lee – know her music almost intimately.

This is repertoire full of the slithering and bittersweet glissandos of Lee’s cello, the elegant burbling of brass and winds from Brad Turner, Jeremy Berkman and Jon Bentley respectively. Together they make a joyful noise with guitarists Ron Samworth and Tony Wilson, with the tumbling rhythms of André Lachance’s bass guitar and rattle, hum and sizzle of Dylan van der Schyff’s drums and cymbals. 

It is difficult to fathom why Lee is not better known for the eloquence and uniqueness of the music that she creates around the solemn atmosphere of her cello. Perhaps this may have something to do with attempting to define it in terms of this genre or that. However, the uniquely beautiful sonorities of (for instance) Internal Structures, Justice / Honour; even the interpretation of Whispering Pines, and other songs on A Giving Way, show Lee to be an artist with a breathtakingly singular voice.

Is This a Dream?
Will Bonness
Manitoba Film & Music (willbonness.com)

The fourth album, Is This a Dream? by the pianist and composer Will Bonness, is an outstanding recording, informed by big-hearted originals and standards performed with brazenly romantic beauty. While each of the works is conventional in form, by turns tender and ardently lyrical, and feature the pianist’s favourite vocalist Jocelyn Gould, the head-turners are the seven (of nine numbers) that feature the scintillating young clarinetist Virginia MacDonald, with the inimitable alto saxophonist Allison Au doubling up with MacDonald on the final track, Cole Porter’s Don’t Fence Me In.

Bonness is a pianist with a naturally poetic bent of mind. In his pianism chromatic notes sigh – and often gush effusively – the harmonic cushioning always falling where you least expect it to. This often makes for the kind of surprise you expect, but never know when it will issue from his fluid right-and-left hand combinations. This is what makes his originals – particularly Round and Round and Contraption – full of great tunefulness. Both songs also feature MacDonald who, with her expressively woody clarinet sound, adds emotional depth and rhetorical eloquence to Bonness’ already-rich harmonic language. 

On the album’s finale the music reaches quite another level as Bonness’ score includes an alto saxophone, Au, who responds with glowing tones and the liquid grace of her notes. The album’s superb repertoire is further embellished by bassists Daniel Fortin and Andrew Goodlett and the irrepressible drummer Fabio Ragnelli.

Who Are You? The Music of Kenny Wheeler
Duncan Hopkins; Reg Schwager; Ted Quinlan; Michel Lambert
Three Pines Records TPR-0015 (duncanhopkins.com)

The late Kenny Wheeler (1930-2014) was a Canadian composer and trumpet/flugelhorn player with an international reputation who pushed the boundaries past jazz standards and into free improvisation. He lived most of his life in England and recorded many albums, primarily for the ECM label. 

Who Are You? is Duncan Hopkins’ celebration of Wheeler’s music and includes Reg Schwager and Ted Quinlan on guitars with Michel Lambert on drums while Hopkins holds down the bass duties. Having two excellent guitarists provides an intriguing interpretation of Wheeler’s compositions and the interplay between Schwager and Quinlan creates many musical highlights. For example, their “almost unison” playing enhances Foxy Trot’s up-tempo melody and each solo is excitingly different. 

The final three tracks, Montebello, Kitts and Salina St. are named after St. Catharines (aka “Kitts”) and the neighbourhood where both Wheeler and Hopkins lived. Kitts and Salina St. were composed by Wheeler and re-arranged by Hopkins. Montebello is a Hopkins original named after the park at the end of Salina St. where they met. This suite of three songs adds a very personal and delicate touch to the album.

Don’t Ask Me
Sam Dickinson Trio
Independent (samdickinsonguitar.com)

Don’t Ask Me is an enjoyable album from Toronto guitarist/composer Sam Dickinson who has studied at Humber College, the New England Conservatory, McGill University and received a Doctorate from the University of Miami in 2019. The album is an engaging and diverse set of works displaying his substantial guitar chops. 

Dickinson’s trio includes Jim Vivian on bass, with Adam Arruda and Terry Clarke alternating on drums. South Florida Task Force has a funky 7/4 groove and the guitar part is fusion inspired, effortlessly jumping through lithe melodies. Old Folks is a beautiful piece featuring acoustic guitar which begins slowly as a solo with some jazzy folk chords, then bass and drums enter and it builds into some expressive solo lines. Memory Lane also has some very nice acoustic playing and features Vivian›s bass, initially playing an exquisitely bowed melody and then evolving into intriguing pizzicato lines. Don’t Ask Me is an impressive and assured debut album and we look forward to more work from Dickinson.

Resonants
Artie Roth Quartet
Three Pines Records TPR-0016 (artieroth.bandcamp.com/album/resonants)

Resonants has many overarching themes, but sonically one in particular hits the ground running and never looks back: Artie Roth’s bass sounds nothing short of astonishing in this mix. Whether this reality is brought to the actual forefront as on the delicate Sound and Sky or greatly heightening the impact of every single Anthony Michelli drum hit on Refrain, Roth is the bedrock of what gives his group its distinctively substantial and grounded sound. The band itself displays an incredible grasp for mood, accessing a palette that not only delights in its sophistication, but fluctuates considerably between each track with effortless precision. The entire tracklist only consists of two (showstopping) segues, but the thoughtful sequencing and Roth’s refined compositional touch binds Circle Maker and Second Moment together as soulmates. 

Resonance makes up one half of the album’s conceptual namesake (“tenants” is the other), and it is a key element that is manipulated by the entire band to great effect. Soloing throughout is divorced from the idea of isolation that is often associated with the practice, taking the form of calculated traversal through a living soundscape rather than self-contained reactions to a set of harmonic constraints. Sam Dickinson’s guitar work shines in this respect, with active accompaniment that provides a resolute sense of warmth. The most energetic sections are characterized by an irresistible swing, kept page-turning by a constant shifting of beat emphasis, never allowing momentum to yield. Freshness flourishes.

L’Origine Éclatée
Jean-Marc Hébert; Lex French; Morgan Moore; Pierre Tanguay
Independent (jean-marchebert.bandcamp.com)

L’Origine éclatée is an interesting album, and in many ways a rather selfless offering from guitarist Jean-Marc Hébert. It is one thing to have an understated style, or to showcase compositions and ensemble over one’s individual prowess, but Hébert truly takes an egalitarian stance with this recording, letting his great band shine on the seven unique original compositions we are treated to. The album doesn’t eschew the fact that Hébert is an excellent guitarist, but rather celebrates the trust and confidence he has in his bandmates to interpret his musical vision in a way that is extremely engaging to listeners. 

This is the guitarist’s third album as a composer and leader, and perhaps this is why Hébert has no problem stepping back and letting his music breathe through his bandmates. Another factor could be that he is classically trained. To me, this training is reflected in his mature and fully realized compositional style, as well as his technique on the instrument. I can’t point to a single moment on the album that displays the types of virtuosic shredding so many guitarists are drawn to, but each note Hébert plays is deliberately placed and full of intention. 

If you are starved for virtuosity and shredding, you won’t be disappointed after hearing trumpeter Lex French’s rich contributions to the album. French, bassist Morgan Moore and drummer Pierre Tanguay, are all represented on L’Origine éclatée as features and supporting artists. Check it out for yourself.

Swirl
François Bourassa Quartet
Effendi Records FND169 (francoisbourassa.com)

I have had the pleasure of reviewing two albums from Quebec this month, and this province continues to produce the kind of outstanding art our country has come to associate with it. Pianist François Bourassa’s latest release Swirl: Live at Piccolo is a beautiful mix of improvised and composed elements and is full of contrast to its core. 

Years ago, there was a stereotype that contemporary jazz from Quebec tended to be either avant-garde or straight ahead, with little room in the middle. Whether that was ever entirely true stands to be determined, but the improvised music currently being produced in La Belle Province is an amazing melange of improv and tradition, and to this listener it contains a better range of influences than most other music forged in our country. 

I assumed Live at Piccolo meant this album was recorded live off the floor at Studio Piccolo in the east of Montreal, but audience applause quickly alerted me to the fact that this was a performance as well. This brings a certain realness to the music, which is expertly choreographed and precise while simultaneously sounding entirely improvised. Bourassa has been working with reed player André Leroux and bassist Guy Boisvert for more than two decades now and the most recent addition to the group, Guillaume Pilote, does more than hold his own. The album is just over an hour in duration but manages to keep even the most distractable ears glued to their stereo. I recommend it to curious listeners nationally and globally.

Stages
Dan Pitt Trio
Independent (dan-pitt.com)

During Part Two, there is a realization one may arrive at; where it becomes clear that bassist Alex Fournier will indeed have to halt his climb up the thumb register at some point. When that simple, descending two-note phrase adds a skip with its last few repetitions before finally falling back on its sustained apex, it feels like the musical equivalent of holding a person’s gaze. Guitarist Dan Pitt and drummer Nick Fraser then promptly enter the canvas, as if occupying the same mind. This entrance occurs mid-trill, prompting one to rewind the track and locate the exact source of the inciting gesture. The snaking 11-beat pattern that follows serves as the backdrop for continued Fournier arco explorations, cyclical and possessing the assurance of having always occupied its indelible spot in the piece’s conscience. The pattern begins to open up gradually, with Pitt emphasizing offbeats and Fraser dropping open cymbal hits like stones in a glassy stream. Synchronized with this increased generosity, Fournier begins to show his hand as well, weaving what will become the primary motif into his solo.

Part Two is Stages’ shortest song, and a great chunk of its runtime is Fournier’s intro, but it encapsulates the album’s overall tendencies. Gentle, satisfying phrases are meditated on for stretches that manipulate a listener’s time perception, gliding along an axis with ease while each musician applies careful changes with blink-and-you’ll-miss-it subtlety. This music feels truly nurtured.

Open Spaces – Folk Songs Reimagined
Daniel Hersog Jazz Orchestra
Cellar Music CMR010123 (cellarlive.com)

Vancouver-based composer, arranger, trumpeter and conductor Daniel Hersog leads a 17-musician ensemble in his renditions of four well-known folk songs, and six of his own compositions on this, his second album. Recorded in Vancouver, Hersog’s takes on the familiar folk tunes are varied, musical, jazz flavoured, improvised, yet always true to the original and all performed perfectly.

Gordon Lightfoot’s The Wreck of the Edmund Fitzgerald is given a jazz rendition with classical orchestration and harmonies. Held notes lead to Lightfoot’s memorable melody, repeated with gradual entrance of jazzy countermelodies and variations performed by Dan Weiss’ lively drums, Noah Preminger’s improvised tenor horn solo, Kurt Rosenwinkel’s solo/comping guitar and Frank Carlberg’s flourishing piano solo. A brief silence leads to closing gradual instrumental entrances of legato high-pitched rhythmic lines and held-note melody. Unbelievable how respectful, sad and beautiful this all is. 

Hersog’s adaptation of Red River Valley features repeated bass notes from Kim Cass, full orchestra theme and alternating solos, with Rosenwinkle’s guitar leading back to the famous song, now a big surprise, sung by the musicians to closing loud full orchestra and drum cymbal crashes. How Many Roads is Hersog’s self-described “re-composed” version of Bob Dylan’s Blowin’ in the Wind. His Dylan melody sounds simultaneously familiar yet different, especially in the calming yet fast colourful Carlberg piano solo above Weiss’ drum rolls and orchestral glissandos. Hersog’s compositions are equally enjoyable. Rentrer opening Cass bass line is so intriguing, followed by lengthy colourful orchestral lines and solos. Hersog provides so much space for his musicians to improvise, and there’s so much musical fun for everyone!!

Projet Seb Parent
Sébastian Parent
Independent (projetsebparent.bandcamp.com)

Projet Seb Parent, the debut album of Montreal-based drummer Sébastien Parent, leaves the impression of being long in the making. Tight jabs and stabs from the astonishingly cohesive 13-piece horn section inject the most tranquil of rhythm section passages with adrenaline. These sudden shots are surges of pure energy and chutzpah that leave pregnant pauses in between; fleeting voids of suggestion, soon to be realized. This method of tireless tension building through choreographed involvement places Projet Seb Parent on the small ensemble-big band continuum, clueing in while never quite revealing its exact coordinates. The results of Parent’s distinct sound facilitating style: a gleeful grab bag of tuneful goodies that feel equal parts organized and unrestrained. 

Mont Saint-Bruno features acoustic fingerpicking, an irresistible shuffle beat, a whimsical trombone melody and an assertive slide guitar solo played by Patrick Bourdon. Bling Bling’s unabashed usage of 808s, choppy horns and sub bass simultaneously conjures the approaching menace of a Metro Boomin intro, the vigour of a Comet is Coming beat and bravado of your local brass band. Station Du Collège is an absolute highlight, with Parent himself helming an elusive groove reminiscent of early Tune-Yards, not ever quite fully swinging or straight, which makes the song itself feel like it’s constantly lurching forward and backward; reflecting the profoundly danceable quality this whole album possesses.

Plaît-il
Allochtone
Tour der bras tdb 000067cd (tourdebras.com)

Quebec-recorded, but ingeniously expressing its so-called foreign background with a band name that translates as non-native person, Allochtone uniquely mixes currents of electronica, rock, folk and free jazz. Created at the Saint-Alexandre-de-Kamouraska music camp, 195 kilometres north of Quebec City, the group includes local percussionist/turntablist Rémi Leclerc; pianist André Pelletier from Saint-Pascal; guitarist Olivier D’Amours and accordionist Robin Servant from Rimouski; Montreal bassist Alexandre Dubuc and Parisian Cathy Heyden playing alto saxophone and bagpipe chanter.

Each musician also uses some version of electronic instruments giving the eight selections electro-acoustic timbres that are as much otherworldly as they are terrestrial. The result can range from strained reed squeals, piano clicks and tremolo accordion vibrations meeting voltage buzzes and blats or keyboard clusters and metallic guitar flanges establishing a linear theme which must balance on top of consistent electronic drones. Throughout, almost ceaseless percussion ruffs are as prominent as programmed oscillations and stop-start voltage buzzing. Leclerc’s vinyl manipulation also means that tracks like rouge interject snatches of bel canto singing and backwards running syllables into the electronic- and percussion-dominated mix. The tracks aren’t all opaque however. The occasional calliope-like accordion squeeze and slide-whistle or split tone reed trill adds needed airiness at certain junctions.

As an exercise in group improvisation fusing multiple sonic streams, Plaît-il achieves its goals. But more indications of what each musician can contribute individually could have prevented some sequences from descending into near-impenetrable density and lightened the mood.

Jeb Patton – Preludes
Jeb Patton; John Ellis; David Wong; Quincy Davis
Cellar Music CM091822 (cellarlive.com)

New York-based pianist Jeb Patton has made a name for himself in the jazz world, having played with famed acts such as Etta Jones, George Coleman, the Dizzy Gillespie All Stars and many more. On this latest release though, we see Patton’s compositional and musical talents really shine. The album is chock-full of tunes composed by the pianist himself and features an all-star group of musicians backing him, with renowned names such as Mike Rodriguez on horns, Quincy Davis on drums and David Wong on bass. Born during the dreary times of the pandemic, the record is overflowing with creativity and brings a true, enjoyable musical experience. 

Patton grew up in a household where both classical music and jazz were deeply appreciated, with his father being a self-taught pianist. We often think of there being a very strict divisional line between classical and jazz, that the two don’t really ever mix and that mindset is just what Patton sets out to change throughout this record. Inspired by his childhood, each of these songs features notable technical elements we would usually hear in classical music blended in seamlessly with swing rhythms and mellow horn solos attributed to jazz. The result? A terrific record end-to-end, showcasing Patton’s proficiency in genre-crossing and blurring that distinct line between the two genres. A fantastic record for jazz lovers that love broadening their horizons and delving into new musical territories that they have yet to explore.

Counterclock
Clark Gibson; Sean Jones; Michael Dease; Lewis Nash; Nick Mancini
Cellar Music CMR111022 (cellarlive.com)

Renowned jazz saxophonist, educator and composer Clark Gibson’s latest release is a toe-tapping pick-me-up and a breath of musical fresh air. Featuring a roster of talented musicians such as Sean Jones on trumpet, Pat Bianchi on organ and Nick Mancini on vibraphone, Gibson’s sweeping saxophone riffs are supported by a fantastic backing band. This fourth release includes songs that are penned and arranged, for the most part, by the stellar musician himself and his talents as a composer are truly highlighted throughout the record. For those jazz aficionados that like a fresh, modern take on a traditional jazz sound, this is definitely one for your collection. 

Gibson reflects, “Counterclock refers to looking back and not discounting art you created in your early stages as an artist.” The focus of the album, then, is how the saxophonist came to embrace his compositions from the time that he was just starting out. Throughout the tunes there is a definite continuous, broader theme of “looking back to yesteryear,” a hark back to the traditional and appreciating the roots of modern jazz music and many of the greats. Gibson and band have a knack for finding the perfect balance of classic and current, enlivening that jazz sound we’ve all come to know and love yet adding just enough of a contemporary twist to bring it into today’s musical landscape. From start to finish, this album is a sonically pleasing, immersive and snazzy musical journey.

Short Stories
Vicente Archer; Gerald Clayton; Bill Stewart
Cellar Music CM060922 (cellarlive.com)

New York City-based bassist and composer, Vincente Archer is a bit of a gifted chameleon, and with the release of his first recording as a leader Archer feels that he has finally revealeds his authentic self – personally and musically. Archer’s inspired collaborators here include pianist Gerald Clayton and drummer Bill Stewart. This compelling project was propelled by executive producer Cory Weeds, along with producer and noted trumpeter Jeremy Pelt. With the exception of three tracks, all compositions were created by the gifted triumvirate. 

First up is Mirai (Archer), a gossamer-like jazz ballad, replete with a steady, heartbeat of bass punctuated by contrapuntal electric and acoustic piano work from Clayton and incredibly sensitive and yet powerful drumming by Stewart. Clayton’s Round Comes Round follows with boppish motifs coming into play, along with a dizzying piano intro by Clayton, followed by a symbiotic entrance of bass and drums. The trio seems to communicate with pure telepathy here, and the ESP continues in the form of a sinuous bass solo and superb, nuanced drumming from Stewart. 

Another of Archer’s tunes, Lighthouse, is an energizing highlight, featuring Archer’s lithe fingers flying across the bass fingerboard and laying it down with his unique voice. Of rare beauty is Stewart’s Drop of Dusk which exemplifies the “art of the trio” – replete with its stirring, Romantic sub-text, punctuated by brilliant, complex piano work from Clayton. On every track here, Archer’s bass sings and deftly touches those deep, subcutaneous parts of us that are shared by all human beings, underscoring and celebrating our one-ness. The only flaw with Short Stories is that the stories should be longer!