Jazz and Improvised

g(o) sol(o) - Bernard Falaise

g(o) sol(o)
Bernard Falaise
Ambiances Magnétiques AM 267 CD (actuellecd.com)

Using no overdubs but minimal looping and timbral effects, the seven selections on Montrealer Bernard Falaise’s solo guitar tour de force are completely improvised, while pivoting to other instrument-reflecting sounds for greater variety. The attraction of G(o) sol(o) is how Falaise – part of local bands such as Quartetski – uses all parts of his instrument to suggest wider textures while creating miniature sonic tales.

Prime instance of this is the extended 320003, where string shakes and slurred fingering means the staccato introduction on flattened strings is succeeded by bell-pealing shakes, double bass-like low-pitched resonations and organ-like tremolo pulses. These sway the exposition forward into a single line to a buzzing conclusion. Slogan, the slightly longer first track, sets the scene, as bobbing fuzztones and high-voltage shakes rumble along before splitting into pressurized sound loops on the bottom and single-string stings on the top. Both tones are audible as they intersect and slide into one another for a percussive climax.

With pointed stops and starts, Falaise uses varied motifs to define the tunes, including string rubs that drone across the sound field for warmer expositions, or pointillist below-the-bridge scratches for tougher interface. Galop does just that as well, with knob-twisting and effects-pedal-pressure launching tones every which way until all subside into a connective drone.

Sol – G in English – is the fifth note of the C Major scale. Yet G(o) sol(o) cannily treats all of the scale’s notes in a unique fashion.

Cherished Possessions - Steve Boudreau; Adrian Vedady; Jim Doxas

Cherished Possessions
Steve Boudreau; Adrian Vedady; Jim Doxas
Independent (steveboudreaumusic.com)

Gifted Ottawa-based pianist/composer Steve Boudreau has just released his first trio recording of primarily his own music, and has also realized his dream of recording with two of Montreal’s finest jazz musicians: bassist, Adrian Vedady and drummer, Jim Doxas. Boudreau had just completed a five-volume solo piano recording project, when he was compelled to begin this exciting trio album. There are ten intriguing tracks here – including two contributions from the diverse artists, Wayne Shorter and Björk. The recording was completed in a single remarkable day – as so many of the finest jazz recordings have also been made. The resulting energy, creativity and spontaneity are palpable in every track.

The title track is imbued with contemporary lyricism, expressed in Boudreau’s exquisite piano sound, attack and ideas. Doxas and Vedady are nothing short of luminous – engaging with each other and Boudreau on a psychic and spiritual level. Vedady’s solo here explores the many tonal colours of the bass, and Doxas impeccably uses his kit and cymbals as an extension of his emotional expression. Other stand-out tracks include Words of Hope – a sensuous, laconic ballad, filled with warmth and delicious chord progressions; For Staff Only – a Monk-ish trip into the free zone; and Rolling Oil – an up-tempo cooker where the trio shines again. Boudreau’s technical chops are quite breathtaking here, inciting every nuance to feel effortless and natural.

Of special mention is the trio’s masterful take on Shorter’s Go, framed by Doxas’ exquisite percussive choices, and the potent closer, Charlie’s Family Reunion, which captures the pure joy of making music with skilled, like-minded souls. This project is one of the finest trio jazz recordings that I have been privileged to experience in many a moon.

Listen to 'Cherished Possessions' Now in the Listening Room

Open Skies - Tom Reynolds Trio

Open Skies
Tom Reynolds Trio
Zsan Records (tomreynoldstrio.com)

With the release of this emotionally and spiritually profound recording, noted pianist /composer/arranger Tom Reynolds has fashioned a musical contribution of special beauty. His noted collaborators here include two uber-skilled and versatile artists: bassist George Koller and drummer Lorne Nehring. Co-produced by the trio, there are 13 original tracks – all composed and arranged by Reynolds throughout the COVID-19 pandemic. The music itself is a meditation on the depth of our isolation and loss, tempered by faith in the human spirit, and in the words of Reynolds, “we wanted to contribute something hopeful and reflective of the possibilities for resilience, kindness and social change during a challenging and emotional time”.

The program begins with Far Away Lands, a gentle, Latin-infused ballad with fine performances by the trio, and exquisite piano work from Reynolds. Next up is Butterflies – a gossamer-like work, literally calling out for a Marilyn and Alan Bergman-esque lyric! A real stand-out is Spring Will Come, which is a jaunty and uplifting tune, replete with a superb bass solo from Koller as well as dynamic, succinct and complex drum work from Nehring. Other fine offerings include Hold On, which has some palpable Gospel-infused motifs, and Prism. The trio literally shines here – moving like a single-celled organism, reflecting the prismatic spectrum of light through their instruments. One of the most psychoactive tracks is Guidance, which has been arranged with an esoteric intro (defined by Koller’s arco work), which segues into a lilting, melodic expression of joy. Also, of special note is the deeply moving Ode to Nova Scotia, which invokes ancient spiritual presences and heady remembrances of home. The lovely title track reminds us all of the joy of life and art, the delicious taste of freedom and our deep connection to all that is.

The Alberta Lounge - Deanne Matley; Taurey Butler; Paul Shrofel; Steve Raegele; Morgan Moore; Richard Irwin

The Alberta Lounge
Deanne Matley; Taurey Butler; Paul Shrofel; Steve Raegele; Morgan Moore; Richard Irwin
Barbette Records BBR224 (deannematley.com)

This is Deanne Matley’s first album since she bared her soul in 2018 on When I Loved. But although that music was born of sadness, we always had a sense that there was much hope in her questing voice. On The Alberta Lounge, she picks up where she left off, with the ebullient lyricism and joyful swing of this repertoire, which is a proverbial doffing of the hat to Oscar Peterson.

Matley is an artist of the first order; her silken voice, perfect pitch and gentle vibrato at the top of her range bring a touching vulnerability to the lyrics of the ballads The Land Was White (When Summer Comes), If You Were Here Today and Hymn to Freedom. Meanwhile her control of tone and pitch are on full display on the swinging charts, where she makes adventurous vocal leaps. Everywhere on this album her interpretive responses come in primary colours, tempered by a steady stream of vocal tone which imbues the music with a tricky combination of ethereal and concrete imagery.

The fact that Matley is bilingual enables her to shine on the English fare as well as the funkified French version of Lionel Hampton and Jeri Jones’ Je Ne Sais Pas, re-christened here as Merci Pour Ça!. Her Portuguese version of Mas Que Nada also gets a passing grade. Matley saves the best for last: a gloriously spiritual vocal version of Peterson’s Hymn to Freedom.

Listen to 'The Alberta Lounge' Now in the Listening Room

Black Lives: From Generation to Generation - Various Artists (including Oliver Lake; Marcus Strickland; Jacques Schwarz-Bart et al)

Black Lives – From Generation to Generation
Various Artists (including Oliver Lake; Marcus Strickland; Jacques Schwarz-Bart et al)
Jammin’colorS (jammincolors.com)

It is usually difficult to judge albums that contain repertoire by various artists simply because single songs – while representing the best music by a particular artist – may, on the other hand, not suggest consistent artistry on a long-playing album. However, in the case of this Black Lives album, concept trumps compilation not only because the concept of the album is a strong one but because each track is loaded with both artistry and message.

Credit must, de rigueur, go to the album’s executive producer Stefany Calembert. She says in her booklet notes that she wanted “…to give black lives a voice and to listen to what they have to say in 2021…” something that stemmed from being “…deeply disturbed by the air of superiority and hypocrisy of white people.” Calembert is white and does herself enormous credit for giving voice to these artists. Moreover, she has a discerning taste for Black music. There is a subliminal suggestion that Black music – born in Africa – has spread and been reimagined forever thanks to the blues, jazz rap and hip-hop music of Black American artists.

Artistic excellence is uniformly evident among the strident voices on both discs. Thus, it would be unfair to single out a select few artists and their songs for appropriate praise. Unrelenting intensity drives every song. The inclusion of African-born artists at the beginning and end of discs one and two was an inspired choice… and an enthralling tone, from end to end.

#Cuban American - Martin Berjerano

#Cuban American
Martin Berjerano
Figgland Records FR-003 (martinbejerano.com)

Cuban American is how I would describe many aspects of Miami, and South Florida in general. A true melting pot deeply influenced by Cuban culture, due to Florida’s proximity to the island and the waves of immigration that have occurred from the 1980s onwards. Pianist Martin Bejerano has been a staple on the Miami music scene for decades now – born and raised in the Magic City – possessing an impressive résumé from a career that has taken him across the US and abroad.

Bejerano’s fourth album #CubanAmerican is an eclectic yet unified collection of compositions and sounds. I was shocked to read that the veteran musician “insists he is not a great Latin piano player.” But this statement may come from a combo of modesty and a desire for authenticity. Jazz and improvised music tend to be broad umbrella terms, and much of the “Latin jazz” one hears on the radio would sound foreign to someone who inhabits the lands this music borrows rhythmic content from. After listening to #CubanAmerican, it seems Bejerano has chosen a very wise path by collecting ample influences and creating something original. The results are exciting!

The group performs Cuban rhythmic material at a level that is surgically accurate, without losing their sense of heart or vulnerability. Improvised solos are all on par with the cutting edge of modern jazz music, and the album is recorded beautifully at North Miami’s Criteria Studios. #CubanAmerican offers something for everyone, whether your tastes are rooted in traditional jazz, fusion or Latin-based music.

In Common III - Walter Smith III; Kris Davis; Dave Holland; Terri Lyne Carrington

In Common III
Walter Smith III; Kris Davis; Dave Holland; Terri Lyne Carrington
Whirlwind Recordings WR4783 (waltersmith3.com)

Guitarist Matthew Stevens and saxophonist Walter Smith III have been collaborating for some time now, first documenting themselves on the 2018 release In Common. That recording featured a who’s who rhythm section of New York greats, which became a theme with In Common II and this most recent release In Common III.

Approaching a group this way has many benefits. It showcases Smith and Stevens, since they’re the common denominator on all three albums. It also manages to bring together some less-common pairings of musicians, which keeps the music fresh and creative.

Pianist Kris Davis sounds quite comfortable providing subtle triadic accompaniment on the album’s first full band track, Loping. A testament to her versatility and deliberate creative wisdom, Davis sounds equally at home showing off chops and avant-garde ideas in an energetic solo on Hornets.

The bass and drum positions are occupied by stalwarts Dave Holland and Terri Lyne Carrington. In Common III’s liner notes mention a “formula” of one-page songs, and the way Holland and Carrington are able to approach this music gives the listener no doubts as to why the two are some of the most in-demand accompanists in the improvised music world today.

While the sheet music may consist of one-page songs, the music heard on this album is far from simplistic. Stevens and Smith’s musicality provides the glue to bringing each tune together, and their rhythm section orchestrates the entire album brilliantly. What these 15 tracks have “in common” is ample musicality and professionalism.