Alexandre David – Photogrammes
Quatuor Bozzini; Plaisirs du clavecin; Orchestre de l’Agora
Collection Quatuor Bozzini CQB 2434 (collectionqb.bandcamp.com/album/alexandre-david-photogrammes)

What distinguishes the music on this disc – particularly the final work, Photogrammes – is the manner in which music is created by applying dramatically a new, decidedly spectral, musical chromatograph (à la Gérard Grisey) of colours and tone textures. This is evidence of the highly fecund intellect of composer Alexandre David. Lest this idea of “musical chromatography” makes this sound as if the music were expelled from the innards of a machine, it should be made eminently clear that conventional acoustic instruments have been used to make this striking music.  

Spectacularly, David has emerged from the tradition like a man with a resonant hallelujah and a dramatic epiphany. All the conventional tools of music are clearly present here – melody, harmony, rhythm – complete with surprising tempi, startlingly moody accelerando and ritardando, the lot. 

However, what is notable about David’s music is that gone are the melodic, structural and harmonic hooks that have been expressively blunted through overuse. David has tossed all of this dross overboard, rebuilding his music from what might – or mightn’t – be left.

Nanimissuat Île-tonnerre – with text by the Innu poet Natasha Kanapé Fontaine and throat-singing melded into the chorale – is the most riveting moment on the disc. This is not easy music to nail. But Orchestre de l’Agora, with Nicolas Ellis conducting, shepherds these crack musicians through David’s masterly opuses realising his ideas faithfully, without compromising his sound-world.

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Almost As Soft As Silence
Christopher Whitley (solo violin, free improvisation)
Independent (christopherwhitley.bandcamp.com/album/almost-as-soft-as-silence)

Is there a perfect composition to showcase one of the finest violins in the world? Violinist Christopher Whitley was inspired to record some free expressions with his 1770 Taft Stradivarius violin (on generous loan at the time from the Canada Council Instrument Bank) for a shorter, 30-minute disc of what could best be described as love poems to the violin. Recorded in one single take, unedited, each miniature composition reflects the relationship between the violinist and his prized loan and the resonance of the St. Stephens church in Belvedere, CA. Whitley, a stunningly versatile performer with everything from classical, new music, improvisation, jazz, folk and rock in his skill set, takes a breather to play freely, thoughtfully, and authentically, allowing the instrument to sparkle unadorned. Whitley chooses to record the miniature compositions in single takes, one leading to the other almost as gestures. The title track almost as soft as silence is a mere sparkle at 15 seconds long, whereas the others such as seven and a5 b5 g5 range between two to four minutes of divine simplicity, allowing the instrument to breathe, and capturing the essence of both artists – the player and the maker. The album recording was videotaped and is available on YouTube, but I found listening was even better on its own.

This album was perfect scoring for the snowstorm raging outside my window; wind sweeping in gestural gusts kept perfect pace with the sonic explorations. Less about technical wizardry and more about a duet between player and instrument, in a sense it felt more like being back at the beginning of the life of the 1700 Stradivarius. Without the clutter of pyrotechnics or dramatic composition, we have an intimate and pure setting to enjoy the offering, like fine morsels of cheese without the bread.

Fluid Dynamics
Rachel Lee Priday; David Kaplan
Orchid Classics ORC100323 (orchidclassics.com/releases/orc100323-fluid-dynamics)

What strikes me the most about this album is the sheer beauty of the music. Flowing, poetic, immeasurable, visceral and cinematographic, the music is an alluring ode to what lies deep within. The collaborative musical/visual project of violinist Rachel Lee Priday, oceanographer Georgy Manucharayan and six contemporary composers is beaming with imagination and curiosity. Manucharayan’s job includes studying the motion of the oceans and the reasons for it, and in the process he makes experimental videos of these fluid dynamics, using classical music to amplify the movements. It is out of his work that the idea arose to pair the commissioned pieces with selected videos, resulting in a stunning project whose depth is best experienced in live performances.

Rachel Lee Priday’s playing is captivating and intense. Virtuosic, with clear direction, and the imagination and sonority of an exceptional artist, Priday reflects the dance of the ocean effortlessly and naturally. All but one of the compositions are written for solo violin and require an exceptional amount of stamina and energy in performance. Four are commissioned for this project while the remaining three are earlier commissions by Priday.

The album opens with Gabrielle Smith’s Entangled on a Rotating Planet, a wild, energetic, mesmerizing piece. Waterworks by Paul Wiancko, inspired by the energy of a whirling red vortex, brings in a masculine, rhythmical pulse. Convection Loops by Cristina Spinei and Three Suns by Timo Andres are consummately poetic; witnesses to the vastness and colours of the oceans. In addition to two lovely compositions by Leilehua Lanzilotti, ko’inoa and to speak in a forgotten language, the last piece on the album, Violin Sonata by Christopher Cerrone, featuring David Kaplan on piano, is an edgy expedition into a sonic palette.

sedgeflowers MANTRA
HereNowHear
False Azure Records FAR no.2 (falseazurerecords.com/2024/12/06/no-2-sedgeflowers-mantra)

Aleatory approaches to art, where chance and randomness play a central role in determining the outcome and direction of an object (material, musical or otherwise), is a 20th-century creative technique that found legs in literature (the cut-up technique of William S. Burroughs and John Lennon), as well as music (perhaps most famously associated with John Cage’s Music of Changes). Said technique is also associated with the German composer Karlheinz Stockhausen. Often, however, his work utilizing this method is overshadowed by his seminal electronic compositions (Studie I and Studie II) that have made a more pervasive cultural impact, influencing everyone from Aphex Twin, Thurston Moore and Sonic Youth, Miles Davis, Frank Zappa and the Grateful Dead. 

What is sometimes lost in the application of the labels “controversial,” “modernistic” and “groundbreaking,” that are so often attached to Stockhausen’s output, is the fact that many of his pieces are also beautiful, accessible and imminently listenable. This is particularly so when performed by the talented young piano duo of American Ryan MacEvoy McCullough and Canadian Andrew Zhou. Recording for False Azure Records at various points between 2018 and 2022, this newly released album pairs Stockhausen’s famous 1970 Mantra (which utilizes a 13-note tone-row) with two new “companion” compositions by John Liberatore and Christopher Stark, for a satisfying listening experience. 

With McCullough and Zhou doing double-duty on both piano and various cymbals and hand percussion instruments, this beautifully recorded and mixed double-CD offers a welcome introduction for anyone interested in the music of Stockhausen, or in the exciting new talents of these fine pianists. 

Edward Smaldone – What no one else sees…
Brno Philharmonic; Royal Scottish National Orchestra; Opus Zoo Woodwind Quintet
New Focus Recordings FCR425 (newfocusrecordings.bandcamp.com/album/what-no-one-else-sees)

By calling his 2024 disc What No One Else Sees… Edward Smaldone was not telling us (unless you read between the lines of his booklet notes) that he was a musical omnivore. But that’s exactly what he comes across as. Every important musical dialect today collides in his music. 

According to his Bandcamp page “Smaldone blends influences from the worlds of twelve tone music, jazz, and extramusical realms like architecture and poetry to write attractive, sophisticated works that highlight his penchant for vibrant orchestrations and instrumental virtuosity.” 

If that introduction hasn’t piqued your interest in listening to Smaldone’s music, nothing may move you to. You would, of course, be missing out on something exquisitely different: a volcanic mix of “Bebop… jazz harmony, improvisation” and myriad idioms from classical music. 

You would also miss out on Prentendo Fuoco, and pianist Niklas Sivelöv’s incendiary solo, with the Brno Philharmonic responding in kind, plus three other remarkable works. The ghosts of Charlie Parker, Ravel, Ligeti and Boulez all surface on this disc. 

Even if Smaldone hasn’t read De Andrade, his artistic “cannibalism” may have helped shape the burgeoning career of a unique musical omnivore.

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Horizon Song
Scott Grant 5
Cellar Music CMR221123 (scottgrant5.bandcamp.com/album/horizon-song)

Horizon Song by the Scott / Grant 5 offers tasty twists to a detail-oriented listener, while being palatable and polite enough to put on over dinner. A friend described a track they’d heard on the radio as “smooth,” but this was a positive nod to the group dynamic rather than an accusation of innocuousness. 

The album is right at home within the Cellar Music Group catalog, and with excellent casting. Scott and Grant are guitarist Andrew Scott and trombonist Kelsley Grant, with Amanda Tosoff, Neil Swainson and Terry Clarke rounding out the quintet. This rhythm section gives Horizon Song’s nine tracks the ample swing and groove they require, while sounding current and interactive enough to appeal to a contemporary audience. This might just be the through-line of the album: embracing classic aesthetics, but never trapped in a time capsule. 

All of Horizon Song’s tracks are originals, with Scott penning seven tunes and Grant contributing two beautiful waltzes. The tracks go together seamlessly and feature each member of the quintet. The album’s title track might just be the aforementioned “smooth” sounding piece, and there’s plenty of contrast from the snappy Punctuality to the groovy The Problems of Your Future.  

Scott breaks up his guitar sound with nylon-strings on a few tracks, and Tosoff doubles on electric keyboard, all captured beautifully at the Gordon Wragg Recording Studio in Toronto. I have critiqued an album or two from this studio for sounding “cold” while precise, but there is grit and warmth to Horizon Song that brings to mind recordings from the 60s and 70s. Whatever your usual listening tendencies, you’ll find something here to enjoy.

Live! In Harmony
Samuel Bonnet Trio
Divertissement Mercier (samuelbonnetguitar.bandcamp.com/album/live-in-harmony)

Samuel Bonnet is a jazz guitarist currently living in Montreal. Born in Israel, he studied classical and jazz guitar in France, graduating in musicology at the University of Paris. In 2009 he moved to Montreal to study classical guitar. Bonnet’s unique jazz sound relies on using a nylon stringed classical guitar amplified to produce a rich and nuanced sound. Jazz has a history of including classical guitar: for example in the bossa nova tunes of Carlos Jobim and the legendary New York guitarist Gene Bertoncini who, decades ago, studied classical guitar to reinvent his jazz playing.

Live! In Harmony is Bonnet’s second trio recording and the performances are from the Jazz Room (Waterloo, ON) and Rucher de Bolton (Quebec). This album shows jazz at its essential elements: a clean amplified acoustic guitar, upright bass (Jonathan-Guillaume Boudreau) and drums (Simon Bergeron) playing unique arrangements of eight standards. All the arrangements are thoughtful and original. For example, the Nardis cover is quite beautiful beginning with a swishing drum intro which introduces the delicate guitar melody, where Bonnet throws in a few harmonics, and includes a contrapuntal interplay with the bass. The audience’s applause on all tracks adds to a sense of immediacy. The trio’s performances of these and other tunes can also be found on Bonnet’s YouTube Channel.

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Particules Sonores
Alain Bedard Auguste Quartet
Effendi FND174 (alainbedardauguste.com)

For the nearly 20 years, in six albums and numerous tours that have taken this ensemble throughout the globe, Alain Bédard and his storied Auguste Quartet have been considered one of Canada’s most prestigious quartets. Now, with their latest release, the ensemble helmed by bassist/composer Bédard explores the nature of particle physics and music. The compositions have been penned by quartet members Bédard, Marie Fatima Rudolph and Michel Lambert The quartet is comprised of these stellar, primarily Quebec-based musicians, along with Mario Allard on saxophones. 

There are ten envelope-pushing tracks here, all at once challenging, innovating and thrilling, including Bédard’s inveigling Profumo Chaneleone. It features a visceral, facile piano solo from Rudolf and superb drumming from Lambert, while Bédard’s solid bass lines anchor what chooses to be anchored and propels the rest through this complex, modal composition. Also, Lambert’s A Goose Story captures both the delight and horror of fairy tales, incising us with percussive arrows and mesmerizing us with his dynamic percussion. 

Another delight is the light-hearted Il Cappello de mia Sorella (My Sister’s Hat), which steps out of the stratosphere for a bit, bringing us a thoroughly lovely track, filled with the highest possible musicianship. Celestes (adapted by Bédard) deep dives into bebop heaven, replete with a ridiculous tenor solo from Allard and another dose of stirring piano from Rudolf. The closer, Bis du Gras Mollet  (Bédard) is another example of divine quantum entanglement and the power of music-driven sound particles to communicate, calm, thrill and amaze within the organized chaos of jazz.

Breath of Fresh Air
Diane Roblin & Life Force
Zsan Records ZSAN2415 (dianeroblin.com)

Diane Roblin is one of our most gifted and creative jazz pianists and composers. She is well respected on both electronic and acoustic keyboards, as well as for her penchant for genre blending, and expressing her ideas through compositions and motifs that cover the gamut from free, avant-garde jazz modalities into the realms of soul, fusion, rock and everything in between. Her latest salvo (produced by composer/bassist extraordinaire, George Koller) finds Roblin in an expansive musical wonderland, drawing on her many diverse influences, and performed by her expert, dynamic ensemble featuring Kevin Turcotte on trumpet and flugelhorn; John Johnson on soprano and alto sax; Jeff LaRochelle on tenor sax and bass clarinet; George Koller on acoustic and electric bass and Tim Shia on drums.  

First up is, Ladyfinger, funky cool, rhythmic and chordally complex. Roblin never over-plays here and is always focused on the conversation with her ensemble, while Koller provides a lush spine for Roblin to slide up and down. A tight, sibilant horn arrangement is the perfect contextual partner, as well as the beautifully rendered and articulated solo from Johnson. The title track has Roblin’s pianistic dynamism and facility at the forefront, while Turcotte’s trumpet moves sinuously throughout – his lovely tone infusing every note with musical eloquence, segueing into a fine tenor solo from LaRochelle.  

Another gem is Drifting into Dreamland, again underscoring Roblin’s special skill for constructing challenging melodic lines. On Renewed on Thanksgiving Day, LaRochelle’s bass clarinet intro seems to carry a veil of nostalgia and melancholy which is also reflected by the arrangement. This superb recording closes with Cadenza – a solo offering from Roblin that takes the listener on a trip through the vistas and valleys of her pianistic skill as well as her natural communicative abilities. A breath of fresh air, indeed.

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Russ Brannon – Sojourn
Russ Brannon; Various Artists
Independent (russbrannon.com)

Cruising, nocturnal, tasteful, groove-laden, melodic and velvety in equal measure, Sojourn is a pleasure to sit through, and then sit through again, and then again. The ensemble Russ Brannon recruits here is on the larger side, and yet rather than a wall of sound, what greets the listener is more like a warm breeze. 

Consisting entirely of Brannon’s original compositions, the subtleties are what arrest and surprise the most here. Pauline’s shuffling beat gives way to a buoyant waltz, one that feels lighter than air while also being on the looser side, hanging back nicely in the beat. Thistle Street moves effortlessly through unison lines between the guitar and saxophone, into more open sections that give the piece time to breathe. Soloing is nicely paced, while the actual blowing has a feeling of palpable intent (not to be mistaken for sounding contrived, there is still much freedom here) behind it, as if each catchy melody was contending with the others for real estate in the listener’s mind. 

When the band arrives in a spot together, it feels like second nature, even down to every last premeditated rhythmic hit. Adding considerable richness to these arrangements are a full string section and Lori Cullen’s voice; the former uplifting numerous sections with ambient swells while the latter provides a unique ethereal quality to the more harmonic passages. To sojourn is to stay temporarily, but Sojourn will remain with you for a while.

Sam Broverman – Memories of You
Sam Broverman; Morgan Childs; Jacob Gorzhaltsan; Peter Hill; Leslie Huyler; Drew Jurecka; Jordan O’Connor; Tony Quarrington
Independent (brovermusic.com)

Toronto-based, Winnipeg-born jazz singer and songwriter Sam Broverman is back with 11 original songs written alone or in collaboration with others, and two covers. Broverman, perfect and inspirational in his musicianship, has performed worldwide. He also has a Ph.D in math and is Professor Emeritus in Actuarial Mathematics at the University of Toronto.

Broverman sings about the ups and downs of love relationships in a positive reflection. He is joined by seven A list musicians. The title track is upbeat rhythmical storytelling. He sings his memorable melodies with clear phrasing and colour, with instrumental solos midstream. The heart wrenching lyric “now a ghost of you is all I have” becomes positive with the held note “memories” at the ending. 

Broverman’s voice is emotional and controlled in the cover Have a Heart by DiNovo and Mercer. Tony Quarrington’s guitar performances give powerful support to Broverman’s vocals here, with a beautiful jazzy solo. Broverman and Quarrington’s unforgettable jazz composition I’ll Still be Loving You features great Quarrington solos and Broverman’s passionate clear, emotional singing. Their composition As a Matter of Fact opens with a drumkit solo. Broverman’s upbeat singing gives a positive feel and encourages singing along. Jordan O’Connor’s bass solo with Peter Hill’s virtuosic piano accompaniment are both so musical.  

Perfect songs, singing, instrumentals and production are simultaneously jazzy and contemporary: it is impossible to feel depressed while listening to Broverman.

Ilya Osachuk – The Answer
Ilya Osachuk; Tyler Henderson; Donald Vega; Kai Craig; Billy Drummond
Independent IOM01 (ilyaosachuk.com)

It is always exhilarating to hear the upright bass harnessed as a melodic instrument to the extent that Ilya Osachuk does on his delightful debut album. It is even more satisfying when it is in a piano trio (or perhaps, bass trio in this case) format, as the bass is allowed more space to breathe in the higher registers, and there is infinite potential for musical interplay. It helps even further then, that the trios on this album are just about the tightest and most dynamic on planet Earth. Piano duties are shared by Tyler Henderson and Donald Vega, with drums provided alternately by Kai Craig and Billy Drummond.

Osachuk’s intricate, labyrinthine original works are a joyful listen, particularly when played with such clarity and verve. The rhythmic hits on Lviv Perspective are incredibly lively without ever once masking the melody, which itself brings to mind the Geri Allen Trio with how seamlessly all the mini-sections are weaved together; moments of pure synchronicity between bass and piano occurring organically yet also selectively. February and its intro have their own music video, which among other things offers an incredibly moving glimpse into the moments of real quietude in the studio, particularly leading out of Osachuk’s spellbinding solo, when there is a glance shared, a head nod, but that second of true silence also finds a profound moment of rest. It is a beautiful thing when music can afford to do that, fill the air with an abundance of gestures that all come together perfectly, and then catch its breath.

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Forbidden West
Robert Lee; various artists
In The Sun Records ITSCD 102 (inthesunrecords.com/robert-lee-forbidden-west)

Within a country that celebrates multiculturalism as Canada does, it’s truly great to see a musician with a diverse cultural heritage diving into where his roots come from. Such is the focus of Canadian-born Korean bassist and composer Robert Lee’s newest record. In his own words, he has “delved deeper into exploring his identity as a Korean Canadian, questioning what it means to simultaneously straddle two contrasting cultural identities.” He has showcased this exploration in a beautiful way in his compositions. The album features some renowned players, such as Allison Au on the saxophone, Andrew McCarthy on drums and Todd Penteny on piano. It is also a treat to see several Asian-identifying musicians featured, adding to the authenticity of the cultural experience of the tunes. 

What really stands out is a certain openness and soul-baring quality, present throughout the album. It is as if Lee is exposing a part of his soul and being, exploring his multifaceted cultural background and the struggles - but mostly positivity - which comes out of trying to balance two cultures simultaneously. Lee manages to prolifically weave elements of Korean traditional music into his modern compositions, the zither-like sound of the gayageum, played by Roa Lee, intertwining with expressive bass melodies, soaring saxophone solos and captivating piano chords which are reminiscent of the pentatonic scale often used in Asian cultures. If you’re looking for a true cultural and musical experience in one, this album is for you.

Little Knox
Gary Williamson Trio
Modica Music (modicamusic.bandcamp.com/album/little-knox)

The late inspired and inspiring jazz pianist, Gary Williamson, left us in 2019. Although a much-in-demand figure in the Toronto/Canadian jazz scene and his musical legacy is extensive (including jazz education and sharing the stage with an impressive array of jazz luminaries), it still seems as if Williams was under-acknowledged. Although often compared to the iconic Bill Evans, ironically, he rarely listened to Evans. Williamson’s intuitive melodic ideas, his technical facility and of course his deep understanding of lyrics – the intent of a tune, and of a particular song’s emotional vocabulary – are his own.

Modica Music has just released this posthumous, historic and pristine trio album,  recorded at Williamson’s home on August 12 and 15, 2003. Joining Williamson on the date was  the iconic percussionist Marty Morrell and bassist Dave Young. Beautifully produced by noted bassist, Roberto Occhipinti, the CD features 14 tracks – an elegant mash up of gorgeous ballads, jazz standards and bebop burners. This fine CD (Williamson’s only trio recording) is not only a tribute to a magnificent musician, but it should be a primer to every emerging jazz musician.  

Although every track is a gem, a highlight is Fun Ride. On this snappy opener, Williamson’s dynamic, lush sound is literally breathtaking, and the work of Morrell and Young is both enhancing and supportive – just as it should be. Williamson’s facile pianistic attack insures that every melodic nuance lays itself before his feet. His soloing is exquisite and takes a swinging turn when Morrell switches from brushes to sticks. The title track, Little Knox, again showcases Williamson’s incredible sensitivity, enhanced by Morrell’s brilliant percussive choices. Also superb are Williamson’s delicious, swinging performance on Rodgers and Hart’s classic I Didn’t Know What Time it Was, and of sheer, nearly unbearable beauty is the trio’s rendition of Ellington’s sensual ballad, Prelude to a Kiss.

The Lockdown Sessions
106 Ontario Collective
Modica Music (modicamusic.bandcamp.com/album/the-lockdown-sessions)

Roberto Occhipinti is truly a jack of all trades, staunchly eschewing the “master of none” trap that can accompany that descriptor. He is a multi-genre bassist, a contractor of bands and orchestras, a music educator, and someone who’s occupied most roles in countless recording studios. Occhipinti’s latest offering The Lockdown Sessions features its leader not only performing the double-bass parts but producing and mixing the record as well. 

It’s essentially three albums in one, featuring two trios and a quartet. Maybe 2.5, as the final product comes out to 13 tracks. This is too much music to describe track by track in a short review, but each group has a distinct sound that gives a great context through which to discuss the album. 

The quartet portion of The Lockdown Sessions features guitarist Lorne Lofsky and pianist Adrean Farrugia, with Occhipinti and drummer Terry Clarke rounding out the rhythm section. They play contemporary arrangements of four jazz standards, with a synchronized yet exploratory approach. Lofsky’s stellar 2021 release The Song is New is also on Modica Music, and to me, his playing on The Lockdown Sessions is more probing and “live” than the shorter studio arrangements heard prior. 

The rest of the album is piano trio, featuring Ewen Farncombe on the next four pieces with drummer Davide Corazza, and Farrugia returning for the final five with Ernesto Cervini on drums. Listeners get to hear three different drummers approach this repertoire, but it’s a testament to the album’s leader that all three groups coexist organically.