Jazz and Improvised

Dialogue
Myra Melford; Ben Goldberg
Bag Productions BAG 010 (myramelford.com)

Chamber music-styled jazz that still manages to inject spunk into compositions otherwise replete with soft-hued detailing, pianist Myra Melford and clarinetist Ben Goldberg make the most of studied interactions on these 13 tracks, mostly composed by the pianist. Able to matter-of-factly scoot from rhythmic swing to ascetic improvisations with the uncomplicated aplomb of a trapeze team making their acrobatic feats seem commonplace, only in rare instances does the duo grandstand with extended techniques. The watchword here is nuance.

For instance, a track such as Be Melting Snow may appear to be all cool jazz impressionism due to its meandering exposition, but pulsating key pumps and contralto glissandi help the snow melt with fiery improvising, exposing a tougher theme and players as in sync as they are syncopated. Sweetened Artie Shaw-like tonal clarinet variations help 9+5 open up into sprightly swing, although Goldberg’s pinched peeps and Melford’s high-energy pianism later confirm its modernity.

Throughout, the conjoined twins-like bonding is displayed from the full spectrum of piano and clarinet tones. The connection can take place during picturesque tunes that are shaped from piano notes so low that they’re almost subterranean and chalumeau reed sighs to propel the pieces forward. Or, as on City of Illusion and others, dynamic keyboard cascades and probing squeals recall the heyday – but none of the sloppiness – of 1970s’ energy music. While almost initially pushed into the next room by rugged hunt-and-peck key splaying on The Kitchen, for example, the clarinetist’s speech-inflected ostinato slowly inflates to flutter tonguing, so that by the climax, Melford’s crimped high-frequency runs become free enough to also interpolate sly boogie-woogie references. This same skill allows them to delineate with almost pictorial skill the desolate and lovely emotions captured on a Moonless Night.

Working in lockstep, the two still manage to positively define individual musical personalities. And that’s what makes this a dialogue of equals and a significant showcase for two of improvised music’s most prodigious talents.

This I Know
June Garber; George Koller; Mark Kieswetter
Independent JG 180614 (junegarber.com)

With the release of This I Know, elegant and engaging chanteuse, June Garber has gifted us with a cornucopia of rich, emotionally fecund, rarely trodden compositions as well as assembling a stellar cast of collaborators, including producer/arrangers George Koller on bass and Mark Kieswetter keyboards, as well as shining standouts Ted Quinlan on guitar, Alison Young on sax and Guido Basso on flugelhorn and trumpet. South African-born Garber wears a couple of hats here – not only as a sublime vocal communicator, but also as a composer and arranger. This fine project marks the return of Garber following a personal tragedy, and she has deftly transmuted her own challenging journey into a profound musical statement of loss, survival, healing and the power of love.

Garber is a skilled and versatile vocalist/entertainer, and although she approaches her work with a classic sensibility, she is also fearless in her embracing of contemporary material – including a take on Adele’s Rumour Has It and two well-crafted original tunes, the South African inspired Underneath the Jacaranda Tree and the heartrending Unbroken.

A true stunner is Live for Life, Francis Lai’s memorable theme from A Man and a Woman. Garber glides on a simple melodic line here, and effortlessly imbues it with a heady remoulade of romance and magic. Trumpeter Bruce Cassidy’s sumptuous arrangement of Adam Salim’s Malaika is nothing short of breathtaking, and features Garber on stirring Swahili vocals. Her bluesy side is in full throttle on Hoagy Carmichael’s Baltimore Oriole and on a fresh, guitar-infused arrangement of Peter Allen and Carole Bayer Sager’s Don’t Cry Out Loud, Garber captivates with her understatement. 

Melodies Pure and True by Jim Gelcer
Jim Gelcer; Reg Schwager; George Koller
Independent (gelcer.com)

To say that talented drummer/vocalist Jim Gelcer is an eclectic artist, would be something of an understatement. With his new CD, Gelcer explores a wide variety of contemporary expressions, including Broadway, rhythm and blues, rock, soul, funk, jazz, reggae and more. Gelcer brings an interesting mashup to the musical table, incorporating elements of his father’s South African home, his mother’s Middle-Eastern mysticism and his own love of North American, rhythmic, vocal-centric forms. Gelcer acts as producer here, and his potent, power trio includes Reg Schwager on guitar and George Koller on bass.

With 11 tasty tracks, standouts include Lerner and Lane’s On a Clear Day. Lilting and swinging, Gelcer sings with a purity of tone, a resonant vocal aesthetic and a deeply imbedded rhythmic sensibility – reminiscent of Michael Franks, Ben Sidron or the late Kenny Rankin. Schwager’s inspired solo is the icing on the cake. Also of note is Jimi Hendrix’s Little Wing. It may not seem like an obvious choice for this project, but it works. Schwager’s visceral acoustic and electric guitar work melds seamlessly with Koller’s gymnastic and sonorous bass lines, and Gelcer compliments both with an ambitious vocal performance.

Other strong tracks include Gelcer’s interpretation of Sting’s metaphysically infused love song, Fields of Gold and a surprisingly tender interpretation of Wichita Lineman, the Jimmy Webb-penned pop/country classic hit by the great Glen Campbell. There is a wonderful creation of space in this arrangement, contemporizing the tune, moving it out of its established genre and imbuing it with a non-space/time sensibility.

Melodies Pure and True is just that – an absolutely delightful musical potpourri, and a joyous soundtrack for all the groovy, funky and glorious moments of your life.

Volare, The Italian American Songbook
Antonio Ciacca Quintet
Cellar Live CL101815 (cellarlive.com)

This exceptionally performed, well-conceived, well-produced jazz project came about as a result of Vancouver-based tenorist, jazz entrepreneur and producer Corey Weeds and his inspired collaboration with Italian-American pianist/composer Antonio Ciacca and also with the Italian Cultural Centre of Vancouver. A successful partnership with the Centre led to a concert series and other jazz-centric Italian-Canadian events which segued into Weeds’ collaboration with Ciacca (who was keen to transplant his successful concept of the New York City-based “Italian Jazz Days” to Vancouver) and eventually, to the creation of this fine Cellar Live recording.

Ciacca is the only fully Italian member of the ensemble, with the balance of the musicians (excepting Weeds, who is an honourary Italian) having substantial Italian heritage. The gifted musicians on the CD include Paul Gill on bass, Peter Van Nostrand on drums, Weeds on tenor and Benny Banack III on trumpet and vocals. The repertoire is an energizing mix of original, compelling compositions by Ciacca (some of which are inspired by jazz giants, like Thad Jones), American Standards, contemporary jazz compositions and a treasured Italian favourite, Volare (Nel blu dipinto di blu) – authentically performed here with zest, swing and joy.

Of special note is Chick’s Tune by Chick Corea. A dynamic, intricate and full-throttle arrangement defines this stellar track. The musical communication flows like a good Chianti, and the soloing and ensemble work are confident, symbiotic and stirring. Other standouts include the lush and romantic, Stairway to the Stars, featuring a solid vocal by trumpeter Banack and a warm, mellifluous tenor solo by Weeds and also Ciacca’s hi-octane bop-burner, Scotty.