Jazz and Improvised

Sam Broverman – Memories of You
Sam Broverman; Morgan Childs; Jacob Gorzhaltsan; Peter Hill; Leslie Huyler; Drew Jurecka; Jordan O’Connor; Tony Quarrington
Independent (brovermusic.com)

Toronto-based, Winnipeg-born jazz singer and songwriter Sam Broverman is back with 11 original songs written alone or in collaboration with others, and two covers. Broverman, perfect and inspirational in his musicianship, has performed worldwide. He also has a Ph.D in math and is Professor Emeritus in Actuarial Mathematics at the University of Toronto.

Broverman sings about the ups and downs of love relationships in a positive reflection. He is joined by seven A list musicians. The title track is upbeat rhythmical storytelling. He sings his memorable melodies with clear phrasing and colour, with instrumental solos midstream. The heart wrenching lyric “now a ghost of you is all I have” becomes positive with the held note “memories” at the ending. 

Broverman’s voice is emotional and controlled in the cover Have a Heart by DiNovo and Mercer. Tony Quarrington’s guitar performances give powerful support to Broverman’s vocals here, with a beautiful jazzy solo. Broverman and Quarrington’s unforgettable jazz composition I’ll Still be Loving You features great Quarrington solos and Broverman’s passionate clear, emotional singing. Their composition As a Matter of Fact opens with a drumkit solo. Broverman’s upbeat singing gives a positive feel and encourages singing along. Jordan O’Connor’s bass solo with Peter Hill’s virtuosic piano accompaniment are both so musical.  

Perfect songs, singing, instrumentals and production are simultaneously jazzy and contemporary: it is impossible to feel depressed while listening to Broverman.

Ilya Osachuk – The Answer
Ilya Osachuk; Tyler Henderson; Donald Vega; Kai Craig; Billy Drummond
Independent IOM01 (ilyaosachuk.com)

It is always exhilarating to hear the upright bass harnessed as a melodic instrument to the extent that Ilya Osachuk does on his delightful debut album. It is even more satisfying when it is in a piano trio (or perhaps, bass trio in this case) format, as the bass is allowed more space to breathe in the higher registers, and there is infinite potential for musical interplay. It helps even further then, that the trios on this album are just about the tightest and most dynamic on planet Earth. Piano duties are shared by Tyler Henderson and Donald Vega, with drums provided alternately by Kai Craig and Billy Drummond.

Osachuk’s intricate, labyrinthine original works are a joyful listen, particularly when played with such clarity and verve. The rhythmic hits on Lviv Perspective are incredibly lively without ever once masking the melody, which itself brings to mind the Geri Allen Trio with how seamlessly all the mini-sections are weaved together; moments of pure synchronicity between bass and piano occurring organically yet also selectively. February and its intro have their own music video, which among other things offers an incredibly moving glimpse into the moments of real quietude in the studio, particularly leading out of Osachuk’s spellbinding solo, when there is a glance shared, a head nod, but that second of true silence also finds a profound moment of rest. It is a beautiful thing when music can afford to do that, fill the air with an abundance of gestures that all come together perfectly, and then catch its breath.

Listen to 'Ilya Osachuk: The Answer' Now in the Listening Room

Forbidden West
Robert Lee; various artists
In The Sun Records ITSCD 102 (inthesunrecords.com/robert-lee-forbidden-west)

Within a country that celebrates multiculturalism as Canada does, it’s truly great to see a musician with a diverse cultural heritage diving into where his roots come from. Such is the focus of Canadian-born Korean bassist and composer Robert Lee’s newest record. In his own words, he has “delved deeper into exploring his identity as a Korean Canadian, questioning what it means to simultaneously straddle two contrasting cultural identities.” He has showcased this exploration in a beautiful way in his compositions. The album features some renowned players, such as Allison Au on the saxophone, Andrew McCarthy on drums and Todd Penteny on piano. It is also a treat to see several Asian-identifying musicians featured, adding to the authenticity of the cultural experience of the tunes. 

What really stands out is a certain openness and soul-baring quality, present throughout the album. It is as if Lee is exposing a part of his soul and being, exploring his multifaceted cultural background and the struggles - but mostly positivity - which comes out of trying to balance two cultures simultaneously. Lee manages to prolifically weave elements of Korean traditional music into his modern compositions, the zither-like sound of the gayageum, played by Roa Lee, intertwining with expressive bass melodies, soaring saxophone solos and captivating piano chords which are reminiscent of the pentatonic scale often used in Asian cultures. If you’re looking for a true cultural and musical experience in one, this album is for you.

Little Knox
Gary Williamson Trio
Modica Music (modicamusic.bandcamp.com/album/little-knox)

The late inspired and inspiring jazz pianist, Gary Williamson, left us in 2019. Although a much-in-demand figure in the Toronto/Canadian jazz scene and his musical legacy is extensive (including jazz education and sharing the stage with an impressive array of jazz luminaries), it still seems as if Williams was under-acknowledged. Although often compared to the iconic Bill Evans, ironically, he rarely listened to Evans. Williamson’s intuitive melodic ideas, his technical facility and of course his deep understanding of lyrics – the intent of a tune, and of a particular song’s emotional vocabulary – are his own.

Modica Music has just released this posthumous, historic and pristine trio album,  recorded at Williamson’s home on August 12 and 15, 2003. Joining Williamson on the date was  the iconic percussionist Marty Morrell and bassist Dave Young. Beautifully produced by noted bassist, Roberto Occhipinti, the CD features 14 tracks – an elegant mash up of gorgeous ballads, jazz standards and bebop burners. This fine CD (Williamson’s only trio recording) is not only a tribute to a magnificent musician, but it should be a primer to every emerging jazz musician.  

Although every track is a gem, a highlight is Fun Ride. On this snappy opener, Williamson’s dynamic, lush sound is literally breathtaking, and the work of Morrell and Young is both enhancing and supportive – just as it should be. Williamson’s facile pianistic attack insures that every melodic nuance lays itself before his feet. His soloing is exquisite and takes a swinging turn when Morrell switches from brushes to sticks. The title track, Little Knox, again showcases Williamson’s incredible sensitivity, enhanced by Morrell’s brilliant percussive choices. Also superb are Williamson’s delicious, swinging performance on Rodgers and Hart’s classic I Didn’t Know What Time it Was, and of sheer, nearly unbearable beauty is the trio’s rendition of Ellington’s sensual ballad, Prelude to a Kiss.