Kaleidoscope – Contemporary Piano Music by Female Composers from Around the World
Isabel Dobarro
Grand Piano GP944 (naxos.com/CatalogueDetail/?id=GP944)

The Spanish pianist Isabel Dobarro has long championed music by contemporary female composers. Born in Santiago de Compostela in 1992, she studied at the Madrid Royal Conservatory and has been a prize-winner in several competitions. While she has frequently taken part in premieres, this recording, titled Kaleidoscope and featuring the music of 12 female composers all born between 1943 and 1996 is even further proof of her commitment to modern music. The names are perhaps unfamiliar to the average listener and come from different backgrounds, but all are composersDobarro particularly admires for their individualism. 

These compositions may have been written during the last 25 years, but there is little of the avant-garde here; instead, a decidedly neo-Romantic flavour pervades the program, which is marked by contrasts. The disc opens with the languorous Nocturne by the Grammy-nominated Bulgarian composer Dobrinka Tabakova – do I hear echoes of Rachmaninov? Very different in style is the Estudio 3 by Gabriela Ortiz, an angular perpetuum mobile composed in 2007. While Nkeiru Okoye’s Dusk and Suad Bushnak’s Improvisation are quietly introspective, Tania Léon’s Tumbao is all frenetic energy.

Clearly, Dobarro has a deep love for this repertoire. She truly makes these works come alive, combining a sense of tonal warmth with a fine resonance, while demonstrating a flawless technique in the more demanding compositions. At almost 14 minutes, the lengthiest piece on the program is Gustav le Grey by the American Grammy and Pulitzer Prize winner Caroline Shaw. Just as Tabakova’s Nocturne harkens back to Rachmaninov, this piece is more than a nod to Chopin in its quasi-extemporary style and use of mazurka-type rhythms.

Kaleidoscope is aptly titled - a fine performance of engaging music by 12 living female composers whose works deserve greater

Passages
Blackwood
Sanctuary Concerts (jeffreilly.bandcamp.com/album/passages)

For over 25 years, the Canadian instrumental duo Blackwood has performed their lyrical music touching on jazz, classical, improvisation, minimalism and contemporary soundscapes. Talented musicians/improvisors/composers Peter-Anthony Togni (pipe organ/piano) and Jeff Reilly (bass clarinet) work closely together “inspired by plainchant, improvisation and holy minimalism.” Passages features Togni on three different Atlantic Canada pipe organs, and Reilly on bass clarinet in three Togni, and two Togni and Reilly compositions. They are joined by special guest cellist India Gailey on two tracks. 

Togni/Reilly’s Passages is a colourful accessible duet. Repeated lower organ notes form an accompaniment to a glamorous bass clarinet  melody.  The piece builds much louder and then, after a a short silence, birdlike clarinet sounds and organ flourishes are enchanting. Togni’s multi-sectional Benedicite (To Alison Howard) opens with Gailey’s calming cello lines above organ sounds. A short silent break is followed by reflective slow clarinet and cello conversations above organ held notes. It makes for gratifying listening as organ chordal modulations, lyrical cello melody, clarinet flourishes and organ volume builds to another silent break. The next “orchestral” section is highlighted by lyrical cello and clarinet lines to an intriguing closing low organ stop. There are mysterious cello and clarinet lines, cello slides, hilarious low clarinet notes and held organ notes in Togni’s To Look Out Beyond Oneself. Togni’s duet Silentio features contrasting lower clarinet below higher organ notes. Togni/Reilly’s Feathery Spirit is mood-lifting, subtle jazz flavoured with slow/fast bass clarinet, and loud wide-ranging pitched organ. 

Blackwood performs their musical sections as one, creating calming, mesmerizing music.

Esfahan – Chamber Music of Reza Vali
Various Artists
Navona Records NV6647 (navonarecords.com/catalog/nv6647)

At the University of Toronto’s recent New Music Festival, Reza Vali (b.Qazvin, Iran 1952), professor emeritus at Pittsburgh’s Carnegie Mellon University, was the Roger D. Moore Distinguished Visitor in Composition. This two-CD collection of his music is named for its longest work, the rhapsodic 15-minute Esfahân (Calligraphy No.17) for string quartet. Persian-infused modal melodies and rhythms celebrate the cultural riches and architectural splendour of everyone’s favourite Iranian city (mine, too; I visited there in 1996). The Carpe Diem String Quartet also performs Vali’s melismatic Châhârgâh (Calligraphy No.19) and the drone-filled Dashti (Calligraphy No.18), featuring vocalises by the musicians and contralto Daphne Alderson.

The shortest work, the four-minute Zand (Calligraphy No.2) for ney (end-blown flute) and string trio is sweet and soulful. I found the over-repetitive, minimalist figurations of Hajiani (Reality Music No.1) for karnâ (valveless trumpet) and electronics less pleasing. Four Persian Mystic Poems for mezzo-soprano, guitar, percussion, harp and piano are set to verses about “love,” “sorrow,” and “eternity” by Hafez, Rumi and Sepehri. They’re sung in Farsi by Kara Cornell, the instrumentalists occasionally adding their voices to the fervent, ecstatic music.

The five-movement Persian Suite No.2 for flute(s), piano and string quintet contains lighter fare, suggesting cinematic travelogue music, except for the fourth movement, a mournful solo for alto flute. Winds and percussion dominate Vali’s four-movement Sornâ (Folk Songs. Set No.17) for Persian wind instruments and ensemble, ending this intriguing collection with a richly exotic, colour-drenched sonic barrage.

From the Sea to the Stars
Lindsay Flowers; Andrew Parker
Navona Records NV6666 (navonarecords.com/catalog/nv6666)

In From the Sea to the Stars, Americans Lindsay Flowers and Andrew Parker present a rich and varied exploration of works for oboe and English horn. The album showcases both contemporary and classical compositions, highlighting the expressive potential of these often overlooked instruments.

Andrea Clearfield’s Daughter of the Sea, a seven-movement piece for oboe and English horn, opens the album with quirky charm. The work is a fascinating blend of timbres, featuring moments where the musicians vocalize to enhance the emotional depth of the piece. Flowers and Parker’s playing is beautifully expressive, with a rich tone color that allows the instruments to blend seamlessly.

Alyssa Morris’ Brokenvention, accompanied by pianist Satoko Hayami, offers a lyrical, introspective moment in the album. This short duet is delicate, with subtle interplay between the oboe and English horn. Erin Goad’s Overheard on a Saltmarsh takes a more melancholy turn, with pensive melodies and dissonant interjections. The work evokes the imagery of nature, with the oboe and English horn creating haunting, almost otherworldly sounds.

Federigo Fiorillo’s Sinfonia Concertante is a delightful nod to the Classical era, showcasing the technical skill and stylistic playing of both performers. The album concludes with Eugene Bozza’s lush Shepherds of Provence: Sous les Étoiles, a beautifully atmospheric duet that complements the unique timbres of the two instruments.

From the Sea to the Stars is a captivating celebration of musical diversity, demonstrating Flowers and Parker’s artistry and the versatility of the oboe family.

The Dawn of the Bicameral Clarinetist
Gary Dranch
Navona Records nv6693 (navonarecords.com/catalog/nv6693)

Pulse-Tide
Liam Hockley
Aural Terrains (liamhockley.bandcamp.com/album/pulse-tide)

What have we done with music? We didn’t invent it, but we have certainly messed around with it. Music is a way we have of organizing sound (I owe John Cage a beer); sound is pervasive, even maddeningly so. No wonder humans take stimuli and organize them, visually or sonically, even kinetically, and often all at once.

Such deep thoughts help me cope with my own prejudices, especially my dislikes, when it comes to assessing the discs I have before me. The Dawn of the Bicameral Clarinetist is a survey of works for solo clarinet and electronic media, dating between 1968 and 1979, by composers whose names may be familiar to those who pay attention to this type of art. Comprehensive accompanying notes about performers, composers as well as performance dates, fill out the story. Clarinetist Gary Dranch demonstrates commitment and virtuosity in service of this niche (one decade, all clarinet, plus or minus electronics), or as he puts it, “time capsule.” It’s interesting, even fascinating. My aesthetic sense is rewarded, and my skepticism about the value of such a retrospective is forced to sit in the back and listen.   

By preference I gravitate to the traditional form of James Drew’s St. Dennis Variations, the most recent work with the most ancient roots. Dranch is an expressive and able player; these recordings may sound a bit raw but it’s because they were initially recorded live on cassette tape! Talk about ancient.

More up-to-date, and yet less satisfying in terms of recording quality, is Liam Hockley’s Pulse Tide. The B.C.-based Hockley performs spectral works for the hound of the clarinet family, the basset horn. Ana-Maria Avram exploits the wolf-ish tone of this somewhat balky beast in Penumbra. Hockley produces a hypnotic, ASMR-inducing quality from a series of multiphonics, flutter and slap tonguing, key clicks and vibrato-laden micro melodies. The dry recording environment sponges up any reverb, which works in a way and seems artificial at the same time; room-bounce has been sponged up.

Artifice also characterizes the charming Egress, by Thanos Chrysakis. An overlay of five tracks all played by Hockley. What an oddity, a humoresque of argumentative fowl. 

Next, Hockley plays un-self-accompanied, i.e. solo, in Aura by Iancu Dumitrescu. I have trouble connecting the title to the series of new-music-y effects. A second listen might have been in order, but life is, after all, short. On content, I think 75% is a good average, and who can account for other tastes than one’s own? 

In contrast, Horatiu Radulescu’s Capricorn’s Nostalgic Crickets, is the capper at 25+ minutes. Not content to provide a mere five voices, Hockley here plays seven overlay tracks. I wonder whether a Basset choir (pack?) would be possible in practical terms (few owner-operators, fewer gigs). In this incarnation it’s not easy to discern separate parts, or whether he overlayed the same material seven times, the overlap generating the interest. Imagine a slow repeated kind of organic instrumental respiration. This one is the oldest work by more than two decades. It serves, like Avram’s, to induce a meditative Beta state. The crickets are certainly extra-terrestrial, but benign. Perhaps they’re angels? Give this track time and space, it’s the coolest.  

Hush – New Works for Flute and Electronics
Roberta Michel
New Focus Recordings FCR422 (newfocusrecordings.com/catalogue/roberta-michel-hush)

Roberta Michel’s intrepid musicianship has caught the attention of avant-garde artists and groups such as the Art Ensemble of Chicago, Bang on a Can, the Wet Ink Ensemble and others. On Hush she takes the flute – her chosen instrument – out of the confines of the chamber (or orchestral) context on solo flights following, unfettered, wherever this audacious music beckons.

Ditching what certainly appears to be a reliable technique, she puts paid to predictable finger movement and conventional breath controls to seemingly turn her body’s whole cardio-pulmonary machinery into a system plotted around the efforts and exertions required to make a multi headed monolith of pure sound made from mouthfuls of air.

 The whirling ellipses of Jane Rigler’s Red are eminently suited to Michel’s restless creativity, and it surges in a mad rush of blood to the head, and her flute. Victoria Cheah’s edifice, And for you, castles sees Michel mindfully abseiling through its sonic architecture. Jen Baker’s piece, The Great Bridge and a Lion’s Gate is painted in washes of muted and vivid coloured brushstrokes by Michel. Mert Morali’s Quintet sends pungent sonorities through Michel’s bass flute echoing through four speakers. Meanwhile Angélica Negrón’s Hush echoes the silvery quietude of Michel’s father Fred’s plant photographs. Cheah, Morali and Negrón join Michel to perform on their works. 

Meanwhile the conventional meaning of the word “hush” apart, metaphorically speaking Michel blows her way through her flutes right past the sound barrier.

Listen to 'Hush: New Works for Flute and Electronics' Now in the Listening Room

Ink Traces
Julia Glenn; Konstantinos Valianatos
Navona Records NV6670 (navonarecords.com/catalog/nv6670)

American violinist Julia Glenn has lived, taught and performed in China, immersing herself in China’s language, music, dance and poetry. Together with Athens-born pianist Konstantinos Valianatos who, like Glenn, has taught at Tianjin Juilliard School, she plays works by composers who embrace both Chinese and Western classical idioms.

Chen Yi’s Romance and Dance (1995-1999) begins with the very Chinese-sounding Romance, the violin’s bent notes wailing plaintively over sporadic pianistic water-droplets. Dance is a wild ride, with frenzied violin flourishes and rapid piano ostinatos. Chen’s Memory for solo violin (2010) movingly mixes Chinese and Western elements, progressing emotionally from apprehensiveness to determination.

The fragmented melodies and rhythmic inertia of the other solo violin pieces – Yao Chen’s Air (2015) and Pan Kai’s Ink Traces of Sigh (2017/2022) sound thoroughly European, as does Gao Weijie’s The Road (1996), though with longer violin melodies and some momentum from the piano.

Much more enjoyable are Sang Tong’s Night Scenery (1947), the violin ruminating above the piano’s irregular walking bass, the lovely melodies of Nostalgia from Ma Sicong’s Inner Mongolia Suite (1937) and, most of all, Chen Gang’s delightful, unmistakably Chinese Drum and Song (1974-1976) in which rollicking jollity frames blissful dreaminess.

Whining Chinese glissandi and martial Western propulsion clash violently in the CD’s longest work, Chen Yihan’s 11-minute EHOHE for baroque violin and electronics (2022), commissioned by Glenn. Happily, the disparate cultures eventually reconcile and the disc ends in peaceful serenity.

Playfair Sonatas
Ethan Iverson
Urlicht Audiovisual (musicalconcepts.net/recording/ethan-iverson-playfair-sonatas)

Ethan Iverson is a pianist and composer who helped found the American jazz group The Bad Plus in 2000. He has performed jazz with a diverse group of musicians over the years (Lee Konitz, Ron Carter, Ingrid Jensen etc.) and composed for a variety of groups along with writing on music for several magazines. Playfair Sonatas is named after Piers Playfair who agreed to pay Iverson’s studio’s rent for six months in exchange for him composing six sonatas where Playfair would choose the instrumentation.

Along with piano accompaniment, the six instruments are: violin, marimba, clarinet, trombone, alto saxophone and trumpet. All the works are lively and take advantage of each solo instrument’s unique characteristics. For example, Violin Sonata is relatively classical sounding while Alto Saxophone Sonata includes classical, Broadway and jazzy lines. One of the most intriguing aspects is where Iverson dedicates a movement to well known musical figures. For example, Clarinet Sonata II (Music Hall) is dedicated to Carla Bley and it has a sultry and ironic melodicism which matches Bley’s musical personality. Violin Sonata II Blues (for Ornette Coleman) is melodic with brief forays into atonal territory which matches Coleman well. 

Playfair Sonatas is an elegant and innovative addition to the world of chamber music.

Forever Stories of Moving Parties
Peggy Lee; Cole Schmidt
Earshift Music (peggyleecoleschmidt.bandcamp.com/album/forever-stories-of-moving-parties)

Cellist Peggy Lee and guitarist Cole Schmidt have been playing together since 2017 and their deep trust and easy communication naturally extend to their community of exceptional improvisors, many of whom add their voices to the conversations on this album. “The initial concept for the record had to do with hosting a party,” remarks Schmidt, “[one] that included all kinds of people and characters connecting on different conversations in different rooms of the house.”

 Lee and Schmidt have a way of being lyrically tight compositionally while at the same time being flexible and open to new ideas. Their generous co-leadership has resulted in them structuring compositions which leave lots of room for improvisation. The result is exactly what the album describes it to be; a group of friends getting together to float through the album like conversations at a house party, no two being alike. Many of the tracks were made remotely between studios in Vancouver, Melbourne, Montreal and home recordings, retaining the album’s genuine feeling of collaboration and conversation, as well as allowing for multi-tracking and effects. 

It Will Come Back features the vocals and electronics of Sunny Kim with exquisite backing from the band. Lisen Rylander Löve’s vocals on Dr. Dawn is a breathless standout and flows freely with experimental and layered cello. The melodic and dreamy for Ron Miles (featuring bassoonist Sara Schoenbeck) is gorgeous. Wayne Horwitz’s Wurlitzer on the seamless funk-out of Gloop stealthily creeps up inside the tune to a gloried end, and Dylan van der Schyff’s knockout drumming in Sungods is a whole trip on its own.  

The final track Coda, featuring only Lee and Schmidt, feels like the exhausted end of a house party, when everyone has gone home, and two good friends finally have a sit-down on the sofa and feel warm and satisfied for having hosted a great gathering.

Utopia Ontario
Andrew Downing; Maggie Keogh; Justin Orok; Kevin Turcotte; Ian McGimpset
Independent AD00107 (andrewdowning.com)

The latest release from eminent bassist, multi-instrumentalist and composer Andrew Downing is a love letter to a rural, small-town in Ontario, perhaps ironically named Utopia. All eight compositions are from the amazing brain of Downing, with lyrics by Downing and vocalist Maggie Keogh who contributes lyrics on three tracks. Like much of Downing’s work, the music itself defies category… a mash-up of jazz, folk and art song. Downing has said that his diverse group of influences include Bill Frisell and Joni Mitchell, with a blast of Debussy, Billy Strayhorn and Carla Bley, and he has manifested here a singular musical palate involving Ian McGimpsey on pedal steel guitar, Justin Orok acoustic guitar as well as his long-time coterie member on trumpet, Kevin Turcotte.

The programme kicks off with Tiger Lilly – a folk-inspired, mystical reverie that conjures up the deep peace of a woodsy sunset, as well as the earthy power of the feminine mystique, elegantly negotiating the seasons. The tasteful execution of slide guitar by McGimpsey is inspired. Turcotte also shines here on muted trumpet, while Keough’s diaphanous, pure vocal instrument is both delightful and abundantly refreshing in this era of over-wrought, vibrato-clad divas. Of particular, subtle beauty is Girl – an almost unbearably romantic ballad replete with a cleverly poetic lyric – a treat for both musical sensibility and the emotional self. Turcotte enhances the elegant melody while Downing’s bass is the anchor to which all attaches.  

Downing’s facile arco technique is on full display in the melancholy, nostalgic Sideroad, and again, Keogh’s honest and pure vocal effortlessly evokes deep, profound emotions connected to what is precious to all humans – while Downing’s unique artistic perspective, vision and masterful musical skill saturate every moment of the experience.

Soft Winds and Roses
Diana Panton; Reg Schwager; Don Thompson
Independent (dianapanton.com/releases-new.html)

With Soft Winds and Roses, vocalist Diana Panton offers listeners an album that will appease nostalgic music fans, without sounding out of place in the eclectic sonic world of the 2020s. This is a commendable feat, and perhaps the key to Panton’s ability to appeal to such a wide range of audiences. Her music has gained more commercial traction than many comparable Canadian musical acts, without failing to appeal to jazz purists. 

Some of the well-rounded nature of Soft Winds and Roses is a result of Panton’s excellent casting choices. Veteran musicians Reg Schwager and Don Thompson round out a trio “and then some.” Schwager contributes beautiful accompaniment on acoustic and electric guitars, and Thompson is responsible for the arrangements and piano work. The “then some” comes in the form of the aforementioned arranger adding vibraphone and bass to a handful of tracks. Thompson is a master of several instruments and has an uncanny ability to showcase ample musicality on all of them.  

On my first listen I thought that more liberties could have been taken when arranging some of the better-known pop songs covered by Panton. I changed my tune on this, so to speak, after delving further into the recording. The vocal melodies and song forms are treated beautifully by Panton, and they still leave room for improvisation from Schwager and Thompson. 

I’m confident that this album does not require my hype to reach a broad audience, but I’m happy to give it a positive review, as it indeed contains something for everyone.

Listen to 'Soft Winds and Roses' Now in the Listening Room

Tryptique
Fern Lindzon; Colleen Allen; George Koller
Zsan Records ZSAN7458 (fernlindzon.com/tryptique)

What a compelling mixed metaphor it is that draws you into the seductive mystique of the three parts of the painting that adorns the package (bigger, and better explicated if folded out) of this disc. Of course, that magnetic pull only serves to intensify the effect of that metaphor on its transposed metamorphosis into the music of the album Tryptique. Indeed, the pianist Fern Lindzon, saxophonist (and flutist) Colleen Allen and contrabassist George Koller employ the sublime melodic, harmonic and rhythmic subterfuge in their arrangements of jazz standards (Satin Doll) and several originals.  In turn, this music finds reflection in each section of Mythology, the beckoning painting by artist Rose Lindzon, and the unique character of the group’s collaboration brings it to fruition. 

I could spiral into a frenzy trying to define this music and trace its influences. Is it jazz so evasively polyrhythmic that a clear, regular beat rarely emerges? (Cue Kerl Berger’s Zeynebim or Moe Koffman’s A Flower for Amadeus). Do these oh-so-seductive arrangements of standards and originals perfectly define the creativity of the players? 

The sensible thing to do would be to get out of the way and let each song do the “singing.” It bears mention that this is a perfect encounter of musicians whose individual and collective work redefines the very process of improvisation around composition. The result: overall performances that are crisply articulate, rich in hue and gesture.

Listen to 'Tryptique' Now in the Listening Room

Reverence
Carn Davidson 9
Independent CD9-004 (taradavidson.ca/cd9)

The Carn Davidson 9 is an ensemble comprising nine of the “finest players of their generation.” Those five words would be quite a meaningless epithet to describe this nonet were it not for the fact that virtuosity and individuality are almost always completely eschewed except in the case of total immersion in the music at hand. This is but one reason why Reverence is such a flawless musical production

The utter brilliance of the album is that it features beautifully crafted arrangements of beguiling variety and sensuousness. And this is evident in every lovingly caressed phrase of music composed in a myriad of musical idioms beloved of the husband and wife duo: trombonist William Carn and alto saxophonist Tara Davidson. 

Listen to the manner in which the judiciously chosen – and featured – soloists seductively bend and stretch notes, and propel phrases in glorious, airy arcs on Groove and If Not Now, Then When?, and how Davidson sculpts the long inventions of Carn’ Saudé, or how Carn and trumpeter Kevin Turcotte do likewise on Wonderment.

From such brilliant playing, solo or in ensemble, clearly there’s not a single semiquaver that hasn’t been fastidiously considered. Featuring the longtime rhythm section of drummer Ernesto Cervini and bassist Andrew Downing, every musician is completely attuned to the artistry of Carn and Davidson. What better way to honour revered musical icons.

Discovery
Luke Sellick
Sellick Sounds (lukesellick.com/discography)

I review albums from Canada, the US and beyond. Luke Sellick’s latest album Discovery is a hybrid of sorts, with its New York City based bassist and leader hailing from Winnipeg originally. Great music transcends geography, but New York is a city that has attracted the best and brightest improvising musicians for nearly a century. Sellick and his band sound right at home there.

Discovery has an uplifting and energetic tone to it, without eschewing any of the playful edginess one would expect from a group of young musicians in 2024. I was not familiar with most of the artists on this album prior to listening, and I postponed my usual internet sleuthing until I’d heard Discovery in its entirety. This was a fresh way to listen, and I was not disappointed! 

If I were to make an initial criticism, it would be centered on the production aspects of Discovery. Although the individual sounds on this recording are clear, and everyone is present in the mix as a whole, at times subtle additions like the organ on Fun and vocals on Discovery felt a little out of place in the sonic landscape. These were no doubt musical additions, but they toe the line between embracing “studio magic” and obscuring the live-sounding nature of the music. This is a nitpicky and subjective observation, but I’m including it because my other comments are all positive. 

Bassists as bandleaders often have an internalized sense of “programming,” whether in a live or recorded setting. Sellick demonstrates this brilliantly, with the album’s opening and closing tracks being perfect “bookends” to the music they surround. 

Dan Fortin – Cannon
Dan Fortin; various artists
Elastic Recordings (danfortin.bandcamp.com)

The voluptuous sound of Dan Fortin’s bass echoes with dark, sustained murmuration on Cannon, a fascinating programme conceived and executed in a series of duets. Each track features Fortin and a procession of intrepid experimentalists, restless in nature, who allow themselves to be led into the unknown seemingly by following the vibrations of a single note. 

There is a kind of propulsive energy in each of the works and this gives poignant meaning to the title of the recording – Cannon – where notes and phrases appear (metaphorically and literally) to be slingshot out of the principal instrument (which is Fortin’s bass) rather than played in the customary sense that music might be played. Thus Fortin succeeds in drawing his duet-partners into the elliptical gravitational force of his music. 

Moreover, using pedals plugged into his electric instrument, as well as through what seem like an array of effects mixed in from synthesizers, Fortin creates a kind of seductive, otherworldly atmosphere beckoning the other instruments. Each of these – saxophone, guitar, piano, trumpet and drums – then becomes fused into the impressive wall of sound created by Fortin to become a shifting panoply of sound. Surrealist and intergalactic pictures emerge. 

Instruments seem drawn to the bass’ powerful centrifugal force. Uh Hundred is a good example. Other works evoke thunderous natural power, such as the rippling musical groove tumbling down the Eastern Side of The Ural Mountains. What a forceful musical ride…!

Listen to 'Dan Fortin: Cannon' Now in the Listening Room