Singer Halie Loren’s Heart First is what I think of as get-out-the-hammock music. The evocation of lazy hours on the porch in a sultry locale hasn’t so much to do with the origins of the recording — Loren and crew are based in Eugene, Oregon — as with the easy, back-pocket singing style and lightly swinging support of the band. Gifted with a sometimes breathy, sometimes throaty and always gorgeous voice, comparisons to Norah Jones are unavoidable. I even hear a bit of Aaron Neville in the way Loren plays with the break in her voice, in particular on her pretty take of Bob Marley’s Waiting in Vain. It’s in these covers of newer standards and remakes of pop hits that the disc shines brightest, but Loren’s own songs fit in cozily with the classics and overall breeziness. The only time Heart First even comes close to what could be described as edgy is on the reharmonized All of Me, which cleverly blends tremolo guitar (William Seiji Marsh), malleted drums (Brian West) and a minor key for a Willie Nelson-goes-voodoo kind of vibe. Loren also occasionally unleashes a bit of French and Spanish to kick up the sex appeal a notch, but not so much to make you fall out of your hammock.
Jazz and Improvised
I’ve never been a big fan of the “crossover” — opera divas singing jazz; rock stars performing opera; classical artists playing Hendrix — ouch. To my ear, it usually hasn’t worked all that well (unless you’re Keith Jarrett playing Bach). So, it was with some trepidation that I approached pianist/composer Julie Lamontagne’s third and latest album, Opus Jazz.
Turns out I needn’t have been so trepidatious. Lamontagne’s efforts in “revisiting” favourite classical music pieces — “a meeting between the jazz world I currently inhabit and the classical repertoire of my youth” as she explains in her liner notes — have proved, by and large, quite successful in this CD of music for solo piano.
With an early and firm grounding in classical music, Lamontagne ultimately went on to study with Fred Hersh in New York in 2000. (Truthfully, that’s what made me look twice at the CD. I mean, the sublime Fred Hersh, for heaven’s sake — the jazz pianist’s jazz pianist, and exceptional composer.) According to Lamontagne, Hersh encouraged her “to learn the works of Brahms in order to make the connection between jazz and classical.”
Given Lamontagne’s well-executed “adaptations” of works by Fauré, Chopin, Bach, Debussy and Brahms, among others, it seems she paid close attention to the teacher; her Brahms/Hersh-inspired Waltz for Fred does him (Hersh) justice. Bach’s Prelude No.1 in C Major (WTC Book I) is given a fluid and beautiful treatment on track three. And in Chopineries, Lamontagne takes us on a brief, though mellifluous and moving, tour of a Chopin nocturne (Op. posth.72 No.1), ballade (No.1 Op.23) and waltz (No.1 Op.18).
Lamontagne is an accomplished and creative musician, no — uh, make that “yes” — two ways about it.
Less Than Three
ScatCat Records ODCD02
In the follow up to his well-received 2009 debut, S’Cat Got My Tongue, Israeli-born Toronto jazz vocalist Ori Dagan has imbued his latest recording with a healthy dose of intriguing material, cool musical sophistication and superb musicianship. The title, Less Than Three, refers to the online symbol of a heart — illustrating Dagan’s theme of “love” in its many guises.
Recently named “Canada’s Next Top Crooner” by CBC Radio, Dagan’s rich and sonorous baritone plumbs a depth of feeling above and beyond what his title would indicate. The CD boasts a line-up of gifted musicians, notably the Bill Evans-influenced pianist Mark Kieswetter and recent Order of Canada recipient, the luminous Jane Bunnett on soprano sax. All of the impressive arrangements are by Dagan and Kieswetter, including eclectic takes on tunes from Madonna, Elton John, Andrew Lloyd Webber and Lady Gaga, as well as two original compositions — the entertaining and witty Googleable, and a moving ode to peace, Nu Az Ma?, sumptuously rendered in his native Hebrew.
Noteworthy is a rhythmic and wickedly sensual version of Madonna’s disco-era hit Lucky Star, as well as Eretz Zavat Chalav — sung with energy and authenticity (as only a “Sabra” can) and elevated to a thrilling level by Jane Bunnett’s stirring improvisations. Other tasty tracks include a scat-o-riffic roller coaster ride on Lady Gaga’s Bad Romance and a pure and elegant rendering of Elton John’s and Bernie Taupin’s first big hit, Your Song. No doubt there will be many more treats in store down the line from this talented and inventive vocalist.
Writing about opera in 1856, composer Jacques Offenbach (1819–1880) ascribed verve, imagination and gaiety to Italian composers and cleverness, good taste and wit to French ones. Who better then to provide a new take on the music of the father of the French operetta than two veteran Italian improvising musicians?
Accordionist Gianni Coscia and Gianluigi Trovesi on piccolo and alto clarinet create stripped-down reconfigurations of 12 of Offenbach’s familiar themes. They often meld those lines with their own droll commentaries producing tracks that are post-modern yet jaunty and swinging, with the gaiety implicit in the French composer’s best work. Trovesi especially, known for his membership in the Italian Instabile Orchestra, can interject blues tonality in such a way that his echoing glissandi reflect the 21st as well as the 19th centuries. Intensely pumping, Coscia’s squeeze box not only provides tremolo rhythms throughout, but adds dance-like slides and jerks which link Offenbach’s favoured Belle Epoque can-can to the rustic Italian tarantella.
These affectionate homage-spoofs are frequently expressed in title juxtapositions as well. For instance, Offenbach’s lilting merry-go-round styled Et moi is coupled with the duo’s No, tu, no, which includes flutter-tongued reed slithers, while their Sei italiano encompasses wide-bore reed cadenzas and comic bellows timing that plays up the thematic lyricism in Offenbach’s No! … Je suis Brésilien. The piece also links his operettas to what will become musical theatre songs.
By including staccato tongue flutters and polyphonic glissandi in their renditions, Trovesi and Coscia confirm that their languid and lyrical extensions of Offenbach’s themes are treated as seriously as they would the work of any composer or improviser. This impression is fortified on the original Galop … trottrellando when the clarinetist’s virtuosic trills only attain decisive bel canto expression alongside the squeeze box interpolating distinctive can-can rhythms.
The music on this DVD was recorded in 1984 for London Weekend Television, commissioned by the BBC and broadcast on Good Friday, April 24, 1984. It is one of the least known compositions by Oscar Peterson, even though virtually all sources mention it as one of his major works. The eight movements follow the events related in the gospel story. Long-time associates, bassist Niels-Henning Orstedt Pedersen and drummer Martin Drew, accompany Peterson and, as might be expected, the playing is of an exceptionally high standard.
The DVD also features an interesting interview with Peterson in which he admits to an initial scepticism about interpreting such a topic in the medium of jazz and his relation to spiritual music. He also describes in detail the various motifs of the work and I recommend playing the interview before listening to the Suite
The passion and resurrection may seem surprising topics for a longer jazz work, but Oscar Peterson with his Easter Suite joins a number of significant other jazz greats — artists such as Mary Lou Williams, John Coltrane, Duke Ellington and Dave Brubeck introduced religious themes in their later works as a way of expressing their spiritual beliefs. But religion-inspired jazz has been around for some time. In fact one could present a case that there has been a connection right from the early days in New Orleans with the street parades and the interplay of musical and religious traditions.
The Easter Suite will make an interesting addition to your Peterson collection and we have to thank BBC for making it possible. It is hard to imagine an American network producing such an event.
For a performer with as much stage presence as veteran Toronto jazz singer Holly Cole, a DVD-CD package of a live performance seems like an ideal vehicle. Steal the Night was recorded live at Glenn Gould Studio in 2011, and is a fine representation of the gamut of musical charms of Cole and bandmates John Johnson, reeds, Davide DiRenzo, drums, Rob Piltch, guitar, Aaron Davis, piano and David Piltch, bass.
We’re treated to some of her classic repertoire such as Calling You and I Can See Clearly Now plus the newer You’ve Got a Secret and a smokin’ version of Charade. However with most of her between-song patter edited out of the footage, Cole’s big personality doesn’t come through as much as one might hope. So where the DVD really shines is in the short documentaries in the extras section. Holly in Japan is a fascinating glimpse into a slice of Japanese culture and Cole’s many fans there. Coming to Toronto is a mini-biography with interviews of Cole, jazz broadcaster Ross Porter and, most revealingly, Cole’s family. Best of all The Trio digs into the evolution of the unique sound of the band and provides a well-deserved tribute to the contributions long-time collaborators Aaron Davis and David Piltch made to the musical force that is Holly Cole.
Michael Kaeshammer is a prolific guy. Since 2001 he has released six studio albums, the latest in 2011, and much of them populated with his own songwriting. Add to that this DVD-CD of a live performance, and that’s quite a body of work for someone of his relative youth. The other striking thing about Kaeshammer is his love — one might even say obsession — for New Orleans-style music. It comes across in his songwriting as well as in his philosophy toward performing, which, despite his monster skills on piano, is more about having a good time than extended jazz soloing.
Having seen Kaeshammer play live, I have first-hand experience of what a joyful performer he is. Even when it’s just him at the piano, he can command a room with his charisma and energy. Watching a DVD of one of his concerts isn’t a substitute, but it comes close. Especially since Kaeshammer Live! was recorded in an “in the round” setting in an intimate hall in Toronto, so the cameras were able to get in close and capture a variety of angles of the band (which includes three horns and two backing singers). Drummer Mark McLean’s expressive playing is especially fun to watch, and the “cutting contest” between him and Kaeshammer on a Fats Waller tune is one of the highlights of the concert.
Kaeshammer Live provides a concise sampling of the personal and musical journey this ever-evolving musician has taken from smokin’ hot boogie woogie piano player, to romantic balladeer and back again to a musical place that is uniquely his.