Jazz and Improvised

Fundamentally Flawed
Dan Pitt Trio
Independent (dan-pitt.com)

Over the past few years, guitarist Dan Pitt has been steadily establishing a presence for himself on the Toronto jazz scene. Fundamentally Flawed, the debut album for both Pitt and his eponymous trio, is a showcase for Pitt’s playing and his unique compositional style; in both, one can find complementary elements of modern jazz and creative/improvised music, with a tendency to employ the former in service of the latter. This being the case, Pitt has done well in choosing his bandmates: bassist Alex Fournier, whose recently released album Triio is a stylistic cousin to Fundamentally Flawed, and drummer Nick Fraser. A generation removed from Pitt and Fournier, Fraser’s artful drumming has been an increasingly common presence on the projects of younger Toronto musicians, and it is affecting to see him continue to contribute to a scene that he helped to establish in the late 90s and early 2000s.

Though Pitt plays electric guitar, Fundamentally Flawed is, at its core, an acoustic trio album, with an emphasis on the interactivity, excitement and close listening that seem uniquely possible in the trio format. From the raucous, heavily distorted moments of Overdewitt and Mark III to lush, slow sections in Balmoral and January Blues, Pitt’s music has a transparent quality that allows the individual characteristics of each band member to be clearly heard at any given time, highlighting minute shifts in improvisational trajectory. A solid debut from a compelling band.

City Abstract
Dan McCarthy
Origin Records 82788 (originarts.com)

Vibraphonist Dan McCarthy’s newest album, City Abstract, heralds the Toronto native’s return to his hometown, after 15 years living in New York and working with the likes of Steve Swallow, Ben Monder and George Garzone. City Abstract is a Canadian affair: recorded earlier this year at the Canterbury Music Company, it features the quartet of McCarthy, guitarist Ted Quinlan, bassist Pat Collins and drummer Ted Warren; of the nine tracks, six are McCarthy compositions.

McCarthy is an accomplished vibraphonist, with a strong technical command of his instrument and well-developed artistic intuition. This combination of taste and judgment serves him well throughout City Abstract, whether on up-tempo numbers like Bleyto and Go Berserk or on more reflective songs, such as Coral and Other Things of Less Consequence. Quinlan, Collins and Warren share this approach; though this is a band with chops to spare, they are always deployed in service to the music, rather than for personal glory.

City Abstract has many highlights to choose from. Bleyto, the album’s opener, is a tight, swinging song, with an athletic melody played ably in unison by Quinlan and McCarthy. The 7/4 Go Berserk is also an unexpected treat, if only because the juxtaposition of the vibraphone with distorted, high-gain guitar still seems relatively novel. Overall, City Abstract is a well-crafted modern jazz album from a talented bandleader whom the Toronto jazz scene should be glad to have back.

Andy Ballantyne: Play on Words
Andy Ballantyne; Rob Piltch; Adrean Farrugia; Neil Swainson; Terry Clarke
GB Records GBCD190307 (gbrecords.ca)

Toronto-native, saxophonist Andy Ballantyne has decided to pay tribute to some of his greatest influences on this new release. Ballantyne describes the thought behind this record as being a showcase of how it’s possible to make something your own and add your personal touch and flare to it, even within the bounds of certain stylistic constraints you often have as a freelance musician. It’s very much about showing how a musician can add their own unique perspective within a piece of music. Ballantyne composed all of the pieces except Till the Clouds Roll By, written by Jerome Kern, a famed musical theatre and popular music composer from the early 1900s.

All of the songs stand out in their own right and, if the listener knows about the greats Ballantyne is paying tribute to, it is easy to hear their influence. Some pieces that really come forth are Gordian Knot, a catchy and rhythmically pleasing opening track dedicated to Dexter Gordon, Round Shot, a song that is positively groovy and is a shout out to the great Cannonball Adderley and Mr. P.L., a quite cleverly named tune to honour one of our amazing local saxophonists (maybe the reader will be able to figure out who.) Featuring Adrean Farrugia on piano, Rob Piltch on guitar, Neil Swainson on bass and Terry Clarke on drums, this record is nothing short of excellent.

Offering
Rob Clutton with Tony Malaby
Snailbongbong SBB006 (robclutton.bandcamp.com)

Bassist Rob Clutton has long been a mainstay of Toronto’s jazz community, as diligent supporting player in the mainstream and a creative catalyst in more adventurous settings. Clutton leads his own Cluttertones, combining songs, synthesizer and banjo, and he’s explored individualistic inspirations on solo bass. Here he’s playing a series of duets with New York saxophonist Tony Malaby, a fellow member of drummer Nick Fraser’s Quartet, and a standout soloist, whether for the animated gravel of his tenor or the piquant air of his soprano.  

That pared-down instrumentation reveals its rationale on the hymn-like title track, one of Clutton’s seven compositions here, his bowed bass complementing Malaby’s warm, airy tenor sound. On Refuge, as well, the two reach toward the grace and intensity of John Coltrane. Often admirably concise, the two can also stretch out, extending their spontaneous interaction on Crimes of Tantalus.

Among the three improvisations, Swamp Cut has both musicians reaching deep into their sonic resources, Malaby’s grainy soprano meeting its double in the high harmonics of Clutton’s bowed bass. The rapid-fire Twig has Clutton to the fore, plucking a kind of compound ostinato that fires Malaby’s lyricism. Swerve has as much focused energy and raw expressionism as bass and tenor might provide, while Nick Fraser’s Sketch #11 possesses a special melodic attraction.

Throughout, one hears the special camaraderie that two gifted improvisers can achieve in a stripped-down setting, while Clutton’s compositions could support a larger ensemble and further elaboration.