Livre de Luth de Gioseppe Antonio Doni
Sylvain Bergeron
ATMA ACD2 2724

This lovely album has the poetry and wisdom needed to fuel the imagination of all romantics out there. But that is not all – it is also a fine display of Sylvain Bergeron’s mastery on a 14-string archlute and a testament to the abundance and variety of Italian lute music from the onset of the 17th century.

Gioseppe Antonio Doni was most likely an amateur lute player, possibly of noble descent, who compiled the manuscript of early 17th-century lute pieces into the collection known today as The Doni Lute Book. This collection, well known among lute players but relatively obscure among larger music circles, consists of almost 100 pieces by several different composers, including Doni’s teacher and lute virtuoso Andrea Falconieri as well as Giovanni Girolamo Kapsberger, Giuseppe Baglioni and Archangelo Lori.

According to the liner notes, Sylvain Bergeron first encountered the book in his early days as a lute student and has continued to enjoy the collection ever since. For this recording Bergeron chose 25 compositions from the manuscript and grouped them into five sets, according to tonality and mood, thus creating a musical portrait of characters and colours. All sets but one contain Toccatas (some of them virtuosic and with daring modulations) and among many Correntes, there are some that are alluring illustrations of dreamy tenderness.

The relative simplicity of these pieces brings out the delicacy of Bergeron’s marvellous sound – here is the refined and astute player who brings tales from the past to his captivated audiences.

Rameau – Les Indes galantes
Les Talens Lyriques; Christophe Rousset
Alpha 710

It has always surprised me that, whereas musicians are concerned with the use of baroque performance practices in their realizations of 18th-century music, so few directors are interested in the use of baroque stage conventions. Of the operas I have seen, those directed by Gilbert Blin at the Boston Early Music Festival provide the only exceptions. In this production of Rameau’s Les Indes galantes, it is always clear that this is a modern conception by the director, Laura Scozzi. The opera opens with Hébé, the goddess of youth, dressed in a very revealing slip. She is joined by a troupe of nude dancers who give physical expression to their sense of joy. But on two occasions, an apple is tasted, a not too subtle warning that the fall is imminent. The fall arrives when Bellone, the goddess of war (the part is scored for a baritone) arrives on an all-terrain motorized vehicle. He is followed by a motley crew of ecclesiastics and men in football shirts. The male dancers are then given chainsaws and they move away. The main scenes in Rameau’s opera present us with exotic worlds: Turkey, Peru, Persia, America. In this production we see these worlds in terms of modern tourism in which faraway countries are linked through air travel. At the very end of the opera the dancers return and they are now joined by a very pregnant woman, also nude. Is there a suggestion here that we have moved beyond experience to a higher innocence?

Christophe Rousset conducts with real bite, unlike William Christie, stylish but sedate, in the earlier CD (Harmonia Mundi), in which Rousset played the harpsichord continuo. The outstanding singer is the French-Algerian soprano Amel Brahim-Djelloul. We hear her as Hébé, as the Inca princess Phani and as the slave-girl Fatima. The Canadian baritone Nathan Berg is good in the role of the Inca priest Huascar.

Schoenberg – Gurrelieder
Barbara Haveman; Brandon Jovanovich; Thomas Bauer; Gerhard Siegel; Claudia Mahnke; Johannes Martin Kränzle; Gürzenich-Orchester, Köln; Markus Stenz
Hyperion CDA68081/2

Schoenberg – Pierrot Lunaire; Documentary: Solar Plexus of Modernism
Salzburg Festival
Belvedere 10125 

Gurrelieder, songs of Gurre, is one of the most exotic expressions of the late romantic era. The work, set to Jens Peter Jacobsen’s Gurre Sange, grew from a modest song cycle for two voices and piano into a giant cantata demanding an orchestra of twice the normal size, a triple male choir, a full choir and five soloists of post-Wagnerian capabilities. Not to mention a kitchen of iron chains. Beginning with the 1932 live Stokowski/Philadelphia and then the 1953 René Leibowitz (a pupil of Schoenberg)/Paris recordings, there are now 24 versions on CD and another on one DVD, almost all recorded in public concerts. For decades the work was considered unperformable and probably unsaleable (as did our own TSO in 2000, abruptly cancelling scheduled performances), undoubtedly because of Schoenberg’s role as the high priest of modernism whose music would not attract audiences. Nothing could be further from the truth, for this is the crowning glory of the high romantic, post-Wagnerian period.

This new performance is a product of the highest refinement of every aspect from individual players and ensembles inspired by a conductor who most clearly understands the innermost workings of this piece. The five soloists, whose names are not familiar, are perfectly cast and well understand the nuances of their roles. As the work resolves, the additional Sprechstimme role here receives a definitive performance, Kranzle naturally observing the implied pitches and occasionally breaking into actual singing as he announces the most glorious sunrise in all music. Quite an event. This whole production is a triumph not only for the performance but for the work itself which is now actually becoming popular.

The entire experience is captured in a recording of extraordinary clarity, balance and dynamics including the thunder of this vast array. It’s all there without any audible spotlighting. I consider this to be a most significant release and thoroughly recommendable.

When Igor Stravinsky was asked to name an important musical work of the beginning of the 20th century, he replied that “Pierrot Lunaire is the solar plexus of 20th century music.” Schoenberg’s melodrama and its era are discussed and illustrated on the DVD including illuminating commentaries by an impassioned Mitsuko Uchida and the four other members of the chamber group that she assembled for this live performance from the 2011 Salzburg Festival.

The actual performance has all the intensity and passion imaginable; however, vocalist Barbara Sukowa is not a trained singer but an actress. Without the discipline of a finely tuned vocal technique so essential in this complex genre, she is but an actress playing a role. Not even close to good enough. Pity, because the well-prepared documentary is valuable.

Shostakovich – Piano Concertos
Anna Vinnitskaya; Kremerata Baltica
Alpha 203

This is a remarkable debut disc from Russian-German pianist Anna Vinnitskaya. The two Shostakovich piano concertos are brilliant and entertaining, parodic and pensive in turn. In the Concerto in C Minor for Piano, Trumpet and Strings, Op.35 (1933) soloist-director Vinnitskaya maintains tight ensemble and clear articulation with the Kremerata Baltica string orchestra and trumpeter Tobias Willner. The first movement illustrates Shostakovich’s method of assembling triads, scales and popular songs or classical themes into an ironic crazy-quilt whole, featuring harmonic sidesteps into new keys. In the second movement strings play a wide-ranging lyrical melody with poise, as a muted trumpet in dialogue with the piano does later. The virtuosic finale features Vinnitskaya’s still more rapid-fire piano and Willner’s matching double-tonguing.

In the Piano Concerto No.2 in F Major, Op.102 (1957), Omer Meir Wellber conducts the Winds of Staatskapelle Dresden together with Kremerata Baltica. The first and third major-key movements are tuneful in accordance with Soviet expectations, with military band-style flourishes and plenty of piano scales. The third however has sufficient contrast: it is largely in 7/4 metre, woodwinds are brilliant and French horns a standout, and there is even a quoted Hanon piano finger exercise! Best of all for me is Anna Vinnitskaya’s sensitive high-register playing in the the middle movement, which seems like a reminiscence of childhood. In the disc’s last two works pianist Ivan Rudin joins Vinnitskaya in idiomatic playing of Shostakovich’s Concertino (1954) and Tarantella (1955) for two pianos. Recommended for Shostakovich lovers.

Fancies and Interludes
Jacques Israelievitch; Christina Petrowska Quilico
Centrediscs CMCCD 21315

Fancies and Interludes is both a labour of love and musical declaration, intuited and played by two ingenious and accomplished musicians – former Toronto Symphony concertmaster Jacques Israelievitch and pianist Christina Petrowska Quilico. Recorded live at York University’s Tribute Communities Recital Hall, it has the immediacy and the vigour of a live performance (background sounds of pages being turned included), which makes the music come alive with the splendour of the excitement (or the sorrow) of each precious phrase as it was played in the moment.

Fancies and Interludes includes four duos for violin and piano by contemporary Canadian composers. The title track belongs to the last piece on the album, the lengthy and rich Fancies and Interludes VI by Raymond Luedeke, a prolific composer and former TSO clarinetist who wrote this composition especially for Jacques Israelievitch. Five Fancies are framed by Six Interludes, starting as a somewhat fragmented conversation between two vastly different voices and resolving in a harmonious ending.

On the other hand, the album opens with the strong momentum of Oskar Morawetz’s Duo for violin and piano. This piece grabs the listener right away, taking them on the journey from the rhythmical flow of the beginning to the deep lament in a Phrygian D-minor in the last section. Nestled in between are Drop by James Rolfe, my personal favourite on this recording, a fascinating musical travel from earth to heaven and back, and ...and dark time flowed by her like a river, by another composer with a TSO connection, composer-adviser Gary Kulesha. The work is a play between tonal and atonal, reflecting a search for the meaning of a moment in time.

The programming on this CD is exquisite – the compositions flow one after another as if they were meant to be. Israelievitch and Petrowska Quilico allow the impulse, the urge to soar and expand in their playing while granting the listener a breathing space – the true embodiment of Fancies and Interludes.

Editor’s Note: Jacques Israelievitch, who enjoyed an international career as a soloist, conductor and teacher, died September 5. He was 67 years old. He was diagnosed with aggressive, metastatic lung cancer in late February this year. Israelievitch had the distinction of being the longest-serving concertmaster of the Toronto Symphony Orchestra. Retiring in 2008 after 20 years, he joined the faculty of York University’s School of the Arts, Media, Performance & Design, as professor of violin and viola. On August 14, in a special ceremony at his home, Israelievitch was presented with the Order of Canada, one of this country’s highest civilian orders, recognizing outstanding achievement, dedication to the community and service to the nation for nearly three decades. Although Fancies and Interludes was the last CD released during his lifetime, Isrealievitch and Christina Petrowska Quilico completed recording Mozart’s 28 violin sonatas last May. The CDs will be released in 2016.

Poetic Sketches
Elaine Keillor
Centrediscs CMCCD 21615

Pianist Elaine Keillor appears on an extensive discography of 28 solo and chamber albums. Her newest solo release Poetic Sketches takes its title from Oskar Morawetz’s 1991 composition that includes the rhythmically energetic Prelude to a Drama, Raindrops, Storm, a haunting Prayer in Distress and the lively perpetual motion Olympic Sprinter.

Through a Narrow Window is an intense and convincing work by Estonian-Canadian composer Elma Miller that imparts the composer’s concern for the devastation of the environment and our “narrow window” of understanding regarding the ecological destruction of the planet.

John Weinzweig’s Netscapes is constructed from repeating motivic fragments that, according to the composer’s program notes, require “no further elaboration.” Having recorded the work on my own CD released last year, I am still intrigued, now as a listener, by the innovative structure of the piece and the integration of jazz-inflected interludes. Although entirely different in compositional technique and style, Alexina Louie’s In a Flash also incorporates jazz-like influences as Keillor’s interpretation brings verve to the composer’s performance direction of “energetically sassy.”

From John Milton’s pastoral poem L’Allegro, Patrick Cardy’s humorous Quips and Cranks: Five Bagatelles for piano (2004) was the composer’s last piece written before his untimely death at age 52. Keillor’s clarity of articulation creates vitality as she conveys the charm of these delightful works.

Kelly-Marie Murphy’s virtuoso Let Hands Speak (2003) was written for the Honens International Piano Competition and Keillor meets the technical challenges head-on in a spirited driving interpretation as the CD ends with an exciting climax.

Chamber Music of John Burge
Ensemble Made in Canada
Centrediscs CMCCD 21715

John Burge (b.1961) has produced a large body of instrumental and vocal works, while teaching at Queen’s University since 1987 and serving as president of the Canadian League of Composers (1998 to 2006). His Flanders Fields Reflections for string orchestra won the 2009 JUNO for best Canadian composition. The three works on this disc display Burge’s characteristic neo-romantic coupling of melodiousness with strong rhythmic drive.

Ensemble Made in Canada, formed in 2006 and winner of the CBC Galaxie Rising Stars award, is currently ensemble-in-residence at Western University. The ensemble commissioned this CD’s major work, the 34-minute Piano Quartet (2012), in which two highly propulsive movements, the first employing minimalist elements, bracket an elegiac Adagietto containing a scherzo (Presto misterioso). All three movements are dramatic attention-holders.

The disc opens with Pas de Deux (2010), performed by the Ensemble’s violinist Elissa Lee and cellist Rachel Mercer. Its structure mirrors that of the balletic duo and the music’s warm lyricism and rocking rhythm could easily be choreographed for a real, danced love-duet.

The ensemble’s other pair, violist Sharon Wei and pianist Angela Park, perform String Theory (2011), composed as the test piece for the 2012 Eckhardt-Gramatté competition. It’s “a compendium of string effects,” writes Burge, designed to challenge the competitors’ techniques, yet it’s no hodge-podge of mere “effects,” thanks to its constant melodic and rhythmic forward motion.

Three very engaging pieces, very engagingly performed.

Tim Brady – The How and The Why of Memory
Symphony Nova Scotia
Centrediscs CMCCD 21515

Montrealer Tim Brady is a fertilizing force on the Canadian new music scene. A composer, electric guitarist, improvising musician, concert and record producer, his active administrative engagement with the Canadian concert music community over the past few decades has been multifaceted and deep. On this album, as distinct from previous Brady albums I have reviewed in these pages, we hear his composer chops applied to orchestral forces: a symphony bookended by two string concertos, one for violin and one for viola. They are admirably rendered by Symphony Nova Scotia, conducted by Bernhard Gueller.

Listening to The How and the Why of Memory: Symphony #4, (2010-2013), cast in a single continuously unfolding movement, I was repeatedly reminded of textures and rhythmic and harmonic ideas of composers active in the early- to mid-20th century. Perhaps those allusions are implied by the title. Brady however never allows such superficial affiliations to get in the way of musical momentum or dramatic gesture, characteristics embedded in his musical voice which engage listeners on an emotional level.

Brady’s very confident Viola Concerto (2012-2013) is dominated by its violist Jutta Puchhammer-Sédillot’s cocoa-coloured sound and brilliantly lyrical playing. It is also imbued with a heart-on-sleeve expressiveness, counterpointed by poised classicist melodic phrases and minimalist sequences. The multi-hued orchestration is endowed with plenty of rhythmic excitement and harmonic movement, relieved by mysterious moments of elegiac repose. The last section, marked “groove,” is particularly effective and texturally surprising. The Viola Concerto is my favourite work on the album and it makes a very valuable new addition to the international viola concerto repertoire.

Stefan Wolpe Vol.7 – Music for Violin and Piano
Movses Pogossian; Susan Grace; Varty Manouelian
Bridge Records 9452 (bridgerecords.com)

Armenian-born Movses Pogossian, first-prize winner of the 1985 USSR National Violin Competition and now based in California, is the featured soloist in the latest of Bridge Records’ landmark series devoted to German-Jewish/American composer Stefan Wolpe (1902-1972).

Wolpe’s four-movement, half-hour-long Violin Sonata (1949) is among his most enduring works, spanning an emotional gamut from playful and joyous to melancholy and anguished, and all the way back again. Pogossian and pianist Susan Grace provide all the intensity and flexibility required for its varied moods.

Pogossian is joined by his wife, Varty Manouelian, in two pieces, Duo for Two Violins (1924), with motoric echoes of Bartók, and the short Two Studies for Two Violins and Piano (1933).

The CD opens and closes with unaccompanied works, Second Piece for Violin Alone (1966), a three-minute quirky charmer that would make an effective recital encore, and the 15-minute Piece in Two Parts (1964), a thoughtful, thought-provoking series of brief, pithy phrases, influenced perhaps by Wolpe’s interest in Oriental meditation. The disc also includes a 29-bar fragment from an unfinished Second Violin Sonata (1959).

The detailed booklet notes are by Toronto musicologist Austin Clarkson, who studied with Wolpe and became, in 1981, the first board chairman and general editor of the Stefan Wolpe Society.

This is intriguing repertoire that deserves to be heard.

John Cage: Four
Quatuor Bozzini
Quatuor Bozzini CQB1414 (actuellecd.com)

Montreal’s Quatuor Bozzini has been together for 16 years and has recorded 15 CDs of the kind of challenging contemporary music that they specialize in, including works by Canadians Malcolm Goldstein, Tim Brady and Jean Derome and international figures like Steve Reich and James Tenney. The experience tells as they take on John Cage’s three works for string quartet, realizing distinctive versions in the process.

The earliest of the compositions, String Quartet in Four Parts (1949-50), is a work descriptive of the four seasons with the composer’s notes encouraging light string contact and no vibrato. The work’s structure and minimal harmonies create an unlikely resemblance to the melodic purity of medieval music. Leaping ahead to 1983, Thirty Pieces for String Quartet presents the musicians with both demands and choices: each piece lasts about a minute, with each musician given a sequence of notes to be fitted into the “time bracket.” The musicians individually choose between microtonal, tonal and chromatic options, but the parts are not directly related to one another except for the coordination of segment lengths. The music that emerges within these configurations is rich in complexity and convergence, a kind of collaboration between composer, performer and listener.

The final work, Four, from 1989, is the most radically reductive of these works, still employing time brackets but offering choices from its sparse materials to all the performers. The result is spacious but continuous with tonal structures that may gently evolve or appear transient. The cumulative work is a serene landscape in which mysterious elements emerge and disappear.

Quatuor Bozzini assumes the substantial demand that this music makes on its performers: to at once realize the work in shaping its form while allowing the components to maintain their distinct, non-structural identities. If the Arditti Quartet’s recordings of these works (on Muse from the early 1990s) have long stood as masterful readings (they worked closely with Cage on Four), Quatuor Bozzini does a fine job of traversing this music, inevitably creating new works in the process.

The Korngold Project Part One
Daniel Rowland; Priya Mitchell; Julian Arp; Luis Magalhães
TwoPianists Records TP1039282 (twopianists.com)

Pianist Luis Magalhães, originally from Portugal and now living in South Africa, is co-founder of TwoPianists Records and its Korngold Project, which here makes an auspicious debut, daring to go head-to-head (in the Suite) against Sony’s recording (SK 48253) by the all-star cast of Joseph Silverstein, Jaime Laredo, Yo-Yo Ma and Leon Fleisher.

To my very pleasant surprise, in a movement-by-movement comparison, Magalhães and the European-based string players outdo the famous foursome in every way, bringing much, much more punch and passion to this punchy, passionate work, one of three Korngold composed for pianist Paul Wittgenstein, who lost an arm in World War I. The balances here are much better, too, with the strings as closely miked as the piano, while on the Sony CD the strings seem muted, lacking focus and presence. (The flaccid Swedish performance on DG 459 631-2 isn’t worth considering.)

The Piano Trio doesn’t sound at all like a composition by a 12-year-old – but it is! – and it’s filled with real music, late-romantic Viennese gemütlichkeit laced with many of the already-distinctive melodic and rhythmic gestures that would remain with Korngold all his life. It, too, receives a vigorous, upfront performance, recorded live, as was the Suite, with well-deserved applause at its conclusion.

The Korngold Project will focus on the composer’s chamber music. This Korngold enthusiast, for one, looks forward to Part Two and beyond.

Nordic Sound – Tribute to Axel Borup-Jørgensen
Michala Petri; Lapland Chamber Orchestra; Clemens Schuldt
OUR Recordings (ourrecordings.com)

Danish & Faroese Recorder Concertos
Michala Petri; Aalborg Symphony; Henrik Vagn Christensen
OUR Recordings (ourrecordings.com)

August brought me two CDs of modern recorder concertos from Denmark, released on the Danish label OUR Recordings, and what a pleasant smörgåsbord they are (sorry, couldn’t resist that one).

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Nordic Sound is a special tribute to Axel Borup-Jørgensen (1924-2012), one of Denmark’s most influential modern-era composers, and four of the six works on the program are for recorder and strings. Inspired by the Danish landscape, Bent Sørensen creates a mystical and spacious atmosphere in Whispering, and the elegant pointillism and rhythmic complexity of the Faroese composer Sunleif Rasmussen’s Winter Echoes elicits wonderful and virtuosic playing from all parties. Mogens Christensen requests a panoply of flutters, pips, chirps and multiphonics from Michala Petri in his Nordic Summer Scherzo, all of which makes for a tour-de-force of bird imitation, and Thomas Clausen’s four-movement Concertino provides a tasteful shift to the neo-Baroque. Two pieces for strings, by Pelle Gudmundsen-Holmgreen and Borup-Jørgensen himself, are beautifully played by the members of the Lapland Chamber Orchestra under Clemens Schuldt.

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Thomas Clausen: Concertino for recorder & strings (2014)
II. Largo

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Danish and Faroese Recorder Concertos also features Petri as recorder soloist but this time with the excellent Aalborg Symphony Orchestra under Henrik Vagn Christensen. A novel by Italo Calvino was the inspiration for Rasmussen’s four-movement Territorial Songs, and his inventive, multi-faceted use of orchestral colour and depth of melodic expression is impressive. Chacun son son by Gudmundsen-Holmgreen begins with the whimsical combination of bass recorder, bass clarinet, clarinet and bassoon, and the various sections of the orchestra are pitted against one another, as one might expect given the piece’s title. The recorder is well incorporated into the woodwind section here, rather than being cast in a more typical soloist’s role, and the instrument, particularly the bass recorder, balances well with the others, something unlikely in an unplugged live performance. Thomas Koppel’s Moonchild’s Dream is the third contribution to the program and its lovely yet unmistakable film vibe is no surprise, considering that it was originally commissioned for a video.

As always in this repertoire, Petri continues to show why she remains a leading inspirer of new repertoire for the instrument. I just wish that the excellent solo clarinetist from the Aalborg Orchestra had been credited, as the violinist was.

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Thomas Koppel: Moonchild's Dream
III. Prestissimo - Liberamente - Prestissimo

Sunleif Rasmussen: Territorial Songs
Concerto for recorder and orchestra (2009) 
V. Leggiero

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For One to Love
Cecile McLorin Salvant
Justin Time JTR 8593-2 justin-time.com

American singer Cecile McLorin Salvant put the jazz world on notice with her first major release in 2013. With a voice that is at once fresh and traditional, Salvant won numerous accolades such as Female Vocalist of the Year from the Jazz Journalists Association, Jazz Album of the Year by the Annual DownBeat International Critics Poll and a Grammy nomination. Still only in her mid-20s, the bar was set high for her sophomore release – and For One to Love is a continuation on the same fine musical path she set for herself.

The impeccable pitch, diction and control are still there, as are top-notch band mates. The choice of material is similar to the first release – a few standards wrought in interesting new ways, such as The Trolley Song, made famous by Judy Garland and which includes a brief, amusing imitation of Garland. Also, in what’s becoming a bit of a trademark, Salvant takes a run at some low down dirty blues – like Growlin’ Dan. These aren’t my favourites, largely because Salvant’s classically trained voice just doesn’t suit the material, but they’re fun. And that’s true of a lot of Salvant’s delivery – theatrical and broad and a little flighty, never really landing on one style or sound. I imagine she’s very entertaining to see live. There’s also a sprinkling of original compositions and the opener Fog really exemplifies the whole album – artful, skilled and not entirely certain what it wants to be.

Cold Duck
S4
MonotypeRec Mono 096 (monotyperecs.com)

No relation to the sparkling wine of the same name, Cold Duck is instead a series of nine biting improvisations by S4, an ad-hoc, all-star quartet of soprano saxophone innovators – one British, John Butcher, and the others Swiss: Urs Leimgruber, Hans Koch and Christian Kobi, the last of whom is also a member of the all-saxophone Konus Quartett, which interprets notated music.

Designated by Roman numerals, Cold Duck’s tracks, lasting from barely one minute to more than 12, could be the auditory sound track of an experimental ornithologist’s laboratory. But unlike such trial and error endeavours, the quartet deliberately creates timbres that range from police-whistle harshness to fipple-like songbird echoes, with a goodly collection of tongue slaps, tongue pops and snorts thrown in for good measure. At the same time its skill is such that III is harmonized as intimately as if by a bel canto choir, but open enough so that every strain, partial and split tone is audible as the four work through tonal variations. Severing and re-attaching with plasticine-like continuity on VII, tremolo whines and lip burbles maintain a shrill pitch until the final moment when one sharp tone pushes the other reeds into more comfortable interaction. Then on the extended IV, S4 members pump air bubbles through their horns with a velocity that resembles electronic processing. After the narrative is magnified enough, it’s squeezed like a balloon, slowly deflating as growls and yelps mix with puffs and squeaks. Subsequently, united circular breathing leads to an aural rainbow-like expansion of tonal colours involving all four.

That climax may be one of the fundamental triumphs and instructive pleasures of Cold Duck. No matter how many instances of sound separation exist, no individual voice is more prominent than the others. The result is a program that confirms group cohesion while fittingly sampling a saxophone choir’s outermost elements.

Passion World
Kurt Elling
Concord Jazz CJA-36841-02 (concordmusicgroup.com)

When I first tried to listen to Kurt Elling’s new album Passion World, I had a hard time getting through it. That’s because whenever I got to the seventh track – his cover of U2’s Where the Streets Have No Name – I had to stop, hit repeat and then just take a moment to recover. It’s a powerful and beautiful take on an already powerful and beautiful song. Once I managed to move on, I realized it’s an album full of such takes.

Passion World was born out of Elling’s desire, when touring, to deliver a song that would give the audience a taste of their country’s own music – what he refers to as “charmers.” The collection of songs then developed into a project for Jazz at Lincoln Center and, now, an album. Leaning mainly toward ballads, Passion World is filled with songs about longing and a sense of place. The project also exemplifies collaboration in its many forms. The opening tracks set the tone as Elling puts lyrics about home and the road to two instrumentals by John Clayton and Pat Metheny before getting into more traditional territory with Loch Tay Boat Song featuring a modern woodwind arrangement played by the Scottish National Jazz Orchestra. Arturo Sandoval’s Bonita Cuba is another fine example of musical minds meeting. The band members all play major roles in the success of this album and, in particular, John McLean’s arrangements and guitar work elevate this collection.