Jazz and Improvised

The Chick Corea Songbook - Manhattan Transfer

02_manhattan transfer The Chick Corea Songbook

Manhattan Transfer

4Q FQT-CD-1819 (www.kochcan.com)

One of the hallmarks of a great musician is the desire to continually seek out new musical challenges. The temptation to please your fans and record company by sticking to the tried and true is ever present, so The Manhattan Transfer’s willingness to stretch themselves by tackling “The Chick Corea Songbook” is highly laudable. Not only are these songs incredibly difficult to sing, but many are revered by jazz fans, so any reinvention risks being viewed as musical blasphemy. But if any vocal group is up to the challenge it’s the eight-time Grammy award-winning Manhattan Transfer. Arranger Yousuf Gandhi has done marvellous things with these songs; interweaving multiple melodies, drawing on a variety of cultures for fresh sounds and alternating between a small army of musicians and synthesizers on some songs, and just stripped back voice and piano on others. Spain has been broken into two parts and while the Prelude is a bit strained, when it moves into the medium groove of the main song and is given a funky bhangra treatment, it feels completely right. Free Samba is a mini carnival with its clever evocation of a Brazilian rainforest and an electrifying solo by Corea himself, and Another Roadside Attraction is a complex marvel that could be a case study for aspiring vocal arrangers. This isn’t a readily accessible record, but for fans of the Transfer and Corea it is an adventure well worth taking.

Interventions into Bach & Mozart - Vyacheslav Guyvoronsky

03_buyvoronsky_bach Interventions into Bach & Mozart

Vyacheslav Guyvoronsky

Leo Records CD LR 534

(www.leorecords.com)

Resulting from a dream where he says the composers suggested to Russian trumpeter Vyacheslav Guyvoronsky that he write additional parts for two of Bach’s and one of Mozart’s keyboard works, these “Inventions” are as musical as they are memorable.

Guyvoronsky, who studied trumpet at the Leningrad Conservatory, is most audacious on Inventions II based on Bach’s Art of the Fugue. Partnered by violinist Vladislav Pesin, the players partially deconstruct and roughen the familiar composition. Leaving space for the violinist’s lyrical expansion, this interpretation uniquely bustles. Facing ascending grace-note smears and rubato abrasive echoes from Guyvoronsky, Pesin’s strategy is staccato and presto, encompassing angled spiccato and triple-stopping, with col legno sweeps so extreme they seem to be furrowing the fiddle’s wood.

Built on Bach’s French Partita, Inventions I is for flute, accordion, trumpet, bass and soprano voice. Singing in French, Ariadna Koryagina’s agile tessitura intertwines polyphonically with Grigory Voskoboinikov’s burbling bass line, Evelyn Petrova’s contrapuntal bellows pump and heraldic brass flourishes. Slightly cheeky, somewhat stop-time and always contrapuntal, the instruments add rococo detailing everywhere and swing at points, throwing into bold relief Koryagina’s subtle and supple interpretation. This half-hour-plus compositional re-think wraps up with a bass string slap. Inventions III, after Mozart’s Sonata C-dur, is a humorous bagatelle for violin (Pesin), cello (Vladimir Guyryushov), and piano, most notable for the light touch and sprinkled arpeggios of pianist Polina Fradkina.

The CD confirms that with skill, familiar compositions – especially Bach’s – can be distinctively re-interpreted.

Jazz Extended Play - The Dawn of Addo Records and other welcome local releases - November 2009

Tales of big labels retrenching and jazz musicians struggling to finance CDs are legion today – but hang on, start cheering. Steve Bellamy, who’s been recording and producing jazz and classical music for 15 years, has started a Toronto-based label - Addo Records (www.addorecords.com) – with three splendid recordings of top-flight Canadians. Liner notes are by local musicians and planned 2010 releases are already in the can.

01_macdonald Saxophone star Kirk MacDonald opens Addo’s account with Songbook Vol.1 (Addo Jazz Recordings AJR001) with seven of his own tunes and quality sidemen in pianist David Virelles, bass Neil Swainson and volatile drummer Barry Romberg. This adventurous music offers tuneful momentum, rhythmic flair and opportunities for bold contributions from bandsmen backing the leader’s warm, expressive and appealing sound – Virelles and Romberg are never still while Swainson’s lush-toned bass anchors proceedings. The opening, expansive New Piece features flowing ideas, and you understand how Kirk has embraced composition as well as stellar performance. There’s winsome balladry on Calendula, passion lamenting late saxist Glenn McDonald, plus fiercely restless work on By Invitation Only (no prizes for knowing the inspiration).

02_quinlan Mega-versatile guitarist Ted Quinlan, equally comfortable with B3 banger Tony Monaco and string peers like Pat Metheny and Joe Hall, is up next with Streetscape (Addo Jazz Recordings AJR002) featuring nine originals, sterling support from bass Kieran Overs and drummer Ted Warren and his penchant for strong, attractive melodies flagging both old and new approaches. Notes are picked with care, yet there’s often unusual choices à la Bill Frisell. The trio fits seamlessly in an elegant atmosphere, creating mysterious note weaves that nonetheless deliver zestful, snaky improv - but overstatement never cramps finesse on Go West and Vibrolux. The pulse quickens on Speakeasy while Crowchild reveals deep emotional focus. This balanced offering swings breezily to the closing Block Party.

03_field_trip Montreal-based trio Fieldtrip, whose edgy self-titled debut stirred free jazz fans, pulls its horns in somewhat with No Destination (Addo Jazz Recordings AJR003), boosting the power trio of alto Colin Power, bass Patrick Read and drummer Mark Nelson with energetic tenor Kelly Jefferson and guitarist Jim Head. Most tunes come from Power and Read and you wonder, briefly, if this group has turned respectable. It’s cooler only in the sense there’s more melodic structure and harmonic nuance than before to accompany the imaginative elements of musical wanderlust. There’s good chemistry on Sounds On Silence and the surging I Am The Impostor, with each tune splashing a kaleidoscope of ideas that crash with ease through genres and approaches. It’s worth more than a second listen.

04_disterheft Rising bass star Brandi Disterheft trolls new territory on Second Side (Justin Time Records JTR 8544-2 www.justin-time.com), adding vocals she surprised us with when opening for Dave Brubeck in the summer, but showing again that she’s in full control of her music, if not the photographers who’ve glammed her up excessively on the album sleeve. With a hand in 10 of the 11 tracks that she’s arranged, her concept is a musical journey entwined with love - but were guest singers Ranee Lee and Holly Cole needed as the boss fashions a classic pop, classic jazz mélange? Disterheft is backed by a bevy of striking players such as saxman Chris Gale, pianist Stacie McGregor and inevitably drummer Sly Juhas. The starter Sketches Of Belief has the magisterial air of a Miles Davis, there’s a neat Brazilian lilt to Twilight Curtain and some ‘outside’ horn rumbling on My Only Friends Are The Pigeons. I’d have liked more instrumentals with the basic trio such as A Night In Haiti that let Disterheft display her considerable bass chops, while her toying with kalimba hints at interesting future possibilities.

05_sigesmund Trombonist Darren Sigesmund is pursuing a somewhat similar course, bringing classical aspects – courtesy of European composers such as Rodriguez, and de Falla – and rock staples into a contemporary jazz mode, heading up a septet in which U.S. saxman Tim Ries has added colour to the leader’s eight thickly-textured pieces on Strands II (DS 09001 www.darrensigesmund.co m). You’ll enjoy stuttering rhythms, florid outbursts and Sigesmund’s agile yet smooth-toned trombone. Horns drift sometimes but there’s always something happening, with guitarist Reg Schwager and percussionist Daniel Stone cutting through the forest frequently with ecstatic soloing. Vocal textures from Eliana Cuevas heighten intriguing sounds, and listen out especially for confident and committed playing on Dance For Leila, Castle In The Storm and the zippy El Inicio.

Concert note: This album will be officially released Nov. 6 at Hart House.

Jazz Extended Play - Canadians at Home and Abroad - November 2009

Ancient but apt, the saying “you can take a boy out of the country, but can’t take the country out of the boy” is more accurate if the country is Canada and the “boys” are male and female musicians in the United States. No matter how busy they are, improvisers are always ready to play north of the border. Last month, for instance, Toronto-born, Brooklyn-based drummer Harris Eisenstadt played two Toronto shows in one day before continuing an American tour.

01_eisenstadt Being Canadian doesn’t mean cutting yourself from other interests as Eisenstadt demonstrates on Guewel (Clean Feed CF 123 CD www.cleanfeed-records.com). Named for the Wolof word for griots, the band – cornetist Taylor Ho Bynum, trumpeter Nate Wooley, French hornist Mark Taylor and baritone saxophonist Josh Sinton – plays the drummer’s arrangements of West African pop music and ceremonial rhythms which he learned overseas. The tunes contain elements of southern dance tracks and brass band marches. Each horn man has the melodic smarts to meld with Eisenstadt’s multi-faceted drumming, producing catchy yet non-simplistic tunes. With his hunting horn sonorities, innate lyricism and pumping vamps, Taylor is a standout. The sympathetic arrangements stack horn parts atop one another in such a way that every solo becomes almost three-dimensional. Rice and Fish/Liti Liti begins mellow and impressionistic, then a drum beat signals a timbral shift with Taylor’s jujitsu tongue-fluttering matched with near Mariachi-styling from the other brass players. N’daga/Coonu Aduna transcends its marching band flavour as Sinton riffs harshly, accelerating to whoops and brays, while the meandering brass trill rococo detailing around him and Eisenstadt clatters, pops and ruffs.

02_bates_paperback Another notable reedist is Canadian turned Brooklynite Quinsin Nachoff, featured on bassist Michael Bates’ Outside Sources Live in New York (Greenleaf Paperback Series Vol. 4 www.greenleafmusic.com). Another Brooklyn-Canadian, Bates studied double bass at Banff Centre for the Arts and the University of Toronto. Other players are trumpeter Russ Johnson and drummer Jeff Davis. Playing all Bates compositions, the band is straight-ahead enough to maintain a swinging pulse, yet imaginative enough to give everyone free range for creative expression. Nachoff for example, punctuates one tune with gradually accelerating glissandi; Johnson another with high-pitched triplet tonguing. A bravura performance on Damasa finds everyone discovering theme variants. Johnson offers tremolo vibrations; Nachoff snuffled and exhaled split tones; Bates chiming runs and Davis opposite sticking plus blunt backbeats.

03_ridd_quartet Davis is also part of the RIDD Quartet on Fiction Avalanche (Clean Feed CF 121 CD www.cleanfeed-records.com), with CanCon provided by his spouse, pianist Kris Davis, who studied at the U. of T. and the Banff Centre. Outstanding on 10 group compositions, solos are weighed among Davis’ sensitive drumming, sweeping colours from distaff Davis, Reuben Radding’s tough, but restrained bass, and the kinetic runs of saxophonist Jon Irabagon. On Fiction Avalanche, the pianist percussively chords a counter melody that extends rasping bass slides and flattened reed vibrations. Monkey Catcher is a screaming blues expanded by Irabagon’s fortissimo split tones, yet tamed by Davis’ chord progression, key-clipping and flailing. Sky Circles is both atmospheric and lyrical. In unison the saxophonist’s buzzy trills and the pianist’s comping outline the theme. Segmented by winnowing squeals from Irabagon, the pianist moors the improvisation while advancing the theme chromatically.

04_milne_delbecq Double the number of pianos appears on Where is Pannonica? (Songlines SGL SACD 1579-2 www.songlines.com). It was recorded at the Banff Centre by Paris-based Benoît Delbecq who also participates in Vancouver’s Creative Music workshop, and Torontonian Andy Milne, who studied at York and Banff before heading south. Delbecq admits that he couldn’t always distinguish his touch from Milne’s during the playback, but the usual division of labour finds him manipulating inside strings and using electronic loops, while Milne’s stays the acoustic course. Bouncing off each other’s ideas, the impression the two give is of subtle invention. Still each can surprise with the use of spiky patterns and percussive note clusters. Dividing the composing chores as well, the moulded and layered tunes are paced so that when they unwind the polytonal qualities available from the soundboard and other innards decorate the keyboard’s strums and resonations. Probably the best number is Milne’s two-part Water’s Edge. Demonstrating quick-moving, overlapping tremolo lines, the piece modulates from andante to allegro and is harmonized by default. Spacious with cascading portamento, sharpened key jabs glance off bell-pealing-like string plunks.

Fine efforts all, these CDs preview what you’ll hear next time one of these expatriates gigs in Toronto.

Jazz - EXTENDED PLAY - Honouring Musical Influences

Mentors and heroes have been celebrated musically for years. In improvised music interpretations are more individual, the choice of honourees is quirkier, but the sounds are just as impressive – as these CDs demonstrate.

Montreal bassist/composer Normand Guilbeault’s Ensemble has played the music of bassist/composer Charles Mingus (1922-1979) for years. Hommage à Mingus: Live at Upstairs (ambiance magnétiques AM 185 CD www.actuelle.com) finds the six man – and one woman, vocalist Karen Young – combo preserving Mingus’ purposely jagged stop-time themes and tempo switches. With Jean Derome’s snorting baritone saxophone and the broken phrasing of Mathieu Bélanger’s bass clarinet, the arrangements have more bottom. Young’s delivery adds emotion to a piece like Weird Nightmare, which benefits from Ivanhoe Jolicoeur’s whispering trumpet. Pianist Normand Devault consistently lays on the blues notes. Yet these link to the trumpeter’s sometime pre-modern plunger work and the steady pulse of drummer Claude Lavergne. The band proves that homage includes irreverence, when the pianist weaves a pastiche of other Mingus tunes into Song with Orange; and on Passions of a Woman Loved, the reeds quote Tequila.

Joe McPhee’s Angels, Devils & Haints (CJR 7 www.joemcphee.com) re-imagines the work of saxophone avatar Albert Ayler (1936 -1970). Besides two standards, the music is improvised. While Ayler’s themes were driven by thick percussion and raucous horns, McPhee plays alto or tenor saxophone or trumpet, backed by four bassists – Michael Bisio, Dominic Duval, Paul Rogers and Claude Tchamitian. Separated by heartfelt saxophone readings of Goin’ Home and Ol’ Man River, the outstanding originals capture the Ayler persona. The Gift is a pointillist exercise divided into saxophone tongue stops, flutter tonguing and frayed trills, while the bassists strike and slap cantilevered timbres, then divide into arco string stretches and pizzicato plinks. The title tune is the real stunner. As the bassists thump or pluck to unify pedal point undertow, McPhee reed bites, squeals and chirps. When the bassists use tremolo pumps to meet the saxophonist’s slip-sliding smears, multiphonics are exposed. McPhee then switches to spidery chromatic triplets on trumpet confirming underlying lyricism. Ultimately he returns to saxophone with ceiling-scraping altissimo. The finale finds the bassists’ portamento runs and McPhee’s floating and stuttering trills melding.

Four Torontonians and two Swiss honour Urs Blöchlinger on Tribute (Pet Mantis Records PMR 004 www.petmantisrecords.com). The compositions of Blöchlinger (1954-1995) reflect the saxophonist’s sardonic humour and hint at the depression that led to his suicide. Organized by local bassist Neal Davis, plus two Swiss who worked with Blöchlinger – pianist Christoph Baumann and drummer Dieter Ulrich – the horn section is all Torontonian: trombonist Tom Richards plus reedists Peter Lutek and Kelly Jefferson. Aylerian echoes animate Lutek’s nephritic cries, with Jefferson lyrical and Richards as fond of plunger work as Jolicoeur. This is especially effective on the lurching theme of King Arthur meets Hans Eisler in Hollywood. The trombone blats, Lutek’s alto saxophone slithers and Jefferson’s soprano saxophone trills draw out the narrative. Davis’ walking, Baumann’s comping and Ulrich’s ruffs let the horns interject quotes from other tunes which are diaphanous enough to expose a climatic round of honks and peeps. Kungusische Arbeitslied layers themes in sequence. Contrapuntally contrasting trombone growls and reed chirps, the group switches to a marching band emulation following a drum roll. Sluicing horn lines quicken the pace as Ulrich nudges the melody with montuno rhythm. Baumann’s sprawling dynamics signal another shift and suddenly roles reverse. Lutek’s nasal alto, Jefferson’s smooth soprano and Richards’ gutbucket trombone play the melody as the pianist’s key wandering replicates a fantasia. A bass string spank completes the tune.

The strangest acknowledgment is Hommage à Syd Barrett (Imuzzic CRCD 0821 www.cristalrecords.com). The Lyon-based i.overdrive trio honours Barrett (1946-2006), the songwriter/guitarist whose idiosyncratic tunes dominated Pink Floyd’s first LP before he left the group. With guitarist Philippe Gordiani using the pre-eminent rock instrument; trumpeter Rémi Gaudillat representing jazz sophistication; and drummer Bruno Tocanne weaving between the two, Barrett tunes are reinvigorated. Astronomy Domine balances Gordiani’s flanged and elongated riffs with melodiousness from Gaudillat and Tocanne’s mid-range banging. Distorted notes from effects pedals and whammy bars, plus prickly guitar licks are in the mix, but so are muted overtones and romantic obbligatos from the trumpet plus the drummer’s crunching rebounds and cymbal-splashes. Deference and deconstruction are realized with Interstellar Overdrive. Replicating the familiar riffs, Gordiani could be playing two guitars, while Gaudillat’s grace notes include a near-Arabic motif. Slurry brass triplets and staccato strumming combine for final redefinition.

The honourees aren’t around to hear these tributes, but each would be proud.

"Ugly Beauties" Marilyn Lerner; Matt Brubeck; Nick Fraser

01_UglyBeauties Ugly Beauties
Marilyn Lerner; Matt Brubeck;
Nick Fraser
ambiences magnétiques AM 187 CD
(www.actuellecd.com)

This is perceptive chamber improvisation which while finely tuned never loses its spiky edge. The sound of this co-op trio depends on the melding of individual talents. Drummer Nick Fraser colors and amplifies the music rather than settling for mere accompaniment. Cellist Matt Brubeck takes full advantage of his instrument’s dual properties with tremolo quivers sharing space with plucked ostinatos. As she does with her other projects, ranging from Klezmer bands to Queen Mab’s New music, pianist Marilyn Lerner exposes in equal measure staccato swing, lyrical meditations and dissonant inside-piano explorations.

Each trio member composes, although of the 15 tracks, four are group improvisations, while Lerner wrote or co-wrote eight. Two of her compositions highlight her versatility. Like its namesake Harold Lloyd jerks, and jumps, as Lerner swings out with kinetic key fanning as the others scramble Keystone Kops-like behind her. In contrast, Figure and Ground aches with Eastern European melancholy, with the piano theme quickening from adagio to andante as Brubeck alters his harmonic responses to fit.

All strategies are put to good use on tracks such as Zoetrope, an instant composition. As the cellist’s semi-classical spiccato evolves to wide octave leaps, Fraser creates an easy pulse with brushes and Lerner sounds low-frequency patterns as well as recoils from the soundboard. Finally all three combine for an episode of stretched, jagged chording.

Ugly Beauty may be an oxymoron, but in this case the emphasis is more on the noun than the adjective.

Concert note: Marilyn Lerner’s Queen Mab Trio joins forces with Barnyard Drama for an evening of improvisation at the Music Gallery October 2.

Jazz - Extended Play - Contemporary Jazz Piano

New jazz guitar releases are waning, compensated by a tsunami of albums from female singers. Fortunately piano mines are in full production – here’s a quartet of recent entries.

01_mombacho Start with Mike Janzen. Raised and classically trained on the Prairies, talents honed at U of T, he’s settled in Toronto now after a history with the Winnipeg Symphony plus a taste for rock, funk, folk and church music. Janzen plays piano and organ, with a dash of Rhodes, on Mombâcho (Signpost Music SP43-02 www.mikejanzen.ca), his sophomore follow to “Beginnings”. I wish he’d played more organ on these mostly original compositions. Where he’s most effective are the opening Around The Block (piano and organ), the title tune (organ alone) and then a delightful makeover of the movie hit Mrs Robinson where Janzen again doubles. With organ he’s forceful and effective, more à la Lonnie Smith than grits ‘n gravy Jimmy Smith. Big assists come from imaginative bass maestro George Koller and drummers Davide DiRenzo, Ben Riley and young Larnell Lewis. The leader also recruits tenorman Phil Dwyer and guitarist Kevin Breit to heighten lush textures but they’re not absolutely essential. Neither are the string section nor the leader’s strained Chet Baker/Willie Nelson influenced vocals. What’s enthralling is Janzen’s writing, woven with wit and inventiveness, and his playing’s sheer exuberance. His songs have catchy dance-floor hooks like Swankometer and are smartly arranged – plus there’s a deep core of spirituality in his emotional attack, which perhaps explains the meaning of life suggested by the album title. He can also caress keys with clarity on Where It Goes, but fusion-styled Trail Runner definitely doesn’t belong in dentists’ waiting rooms. This felicitous mix of funky chords and deep groove is well worth seeking.

02_julie_lamontagne An equally welcome surprise is the Julie Lamontagne Trio recording Now What (Justin Time JTR 8535-2 www.julielamontagne.com). The Montrealer has a big Quebec following after work with Radio Canada and pop artists Isabelle Boulay and Bruno Pelletier, but her jazz chops are well established with sympathetic trio-mates Richard Irwin (bass) and Dave Watts (drums). For five of her eight creations she’s brought in American tenor saxist Donny McCaslin and the result is every bit as auspicious as her debut disc “Facing The Truth”, his horn adding heft to a gaggle of pleasing hard-hitters such as the 10 minutes-plus opener Desillusionée. Lamontagne’s a strong performer and arranger, incorporating the complexities of a Fred Hersch with the flair and drive of Lorraine Desmarais. Note her boppish abstract concoction Lost In The Cycle, where her soloing is fleet yet keyboard touch light and lilting. The title piece’s quiet opening soon erupts into a power churn while K.O. and Damn ratchet up the tension, underscore the rampant surprise elements and point to dramatic jazz crammed with joyous spirit.

03_amanda_tosoff White Rock, B.C.’s pianist Amanda Tosoff fields her quartet on Wait And See (Cellar Live CL081208 www.cellarlive.com). To West Coast A-listers in her group, saxophonist Evan Arntzen, bass Sean Cronin and drummer Morgan Childs, she’s added ubiquitous trumpeter Brad Turner, who always pumps up energy levels. He’s needed here. She’s composed 9 of 10 tracks for a percussive approach but at times this is more efficient than inspiring, somewhat too polite. The opener’s called Soaring but it doesn’t - yet repeated hearing yields the sense of well-organized balance, deftly shaped melody, all within the subtle deployment of jazz convention. Tosoff won big this year when her team carried off the Grand Prix de Jazz at the Montreal Jazz Festival over 10 finalists - which means at least a new recording. In addition, she and Childs are expected to work in Toronto this winter.

04_dick_hyman American Dick Hyman at 76, with more than 100 albums to his credit, is also the performer of ragtime albums as Knuckles O’Toole, creator of scores for art forms such as Woody Allen films and much more. His solo offering In Concert At The Old Mill (Sackville SACD2) is a 12-song masterpiece through which he conjures the storied past of jazz in the styles of trailblazers such as Fats Waller (lively takes on Ain’t Misbehavin’ and Honeysuckle Rose), Gershwin and even John Lennon (Blackbird). Hyman is a versatile exploiter of what’s good about earlier music, and he tosses in a pair of his own, Ocean Languor done in Duke Ellington style and Pass It Along à la Teddy Wilson. You’ll hear lots of bouncing stride, sustained brilliance and dazzling examinations of harmony, melody and swing. The audience loved it. So will you.