Jazz and Improvised

Darn, That Band
Eric St-Laurent; Chendy Leon; Magdelys Savigne; Calvin Beale
Independent (eric-st-laurent.bandcamp.com/album/darn-that-band)

Excellent arrangements of timeless classics. Patient, cyclical grooves that subtly develop and then find their way back home. A four-piece band where half the group plays percussion and the other half plays percussively. Dedication and faithfulness to the originals that will leave familiar listeners satisfied, but also a penchant for exploration and experimentation that allows for catharsis from unexpected places. 

Take for example, what El Cumbanchero metamorphoses into leading out of Magdelys Savinge’s conga solo. As guitar and cajon syncopate each other’s syncopations, all three instruments coalesce into one wall of sound, building in density but not noise. After this hushed swell hits a certain point, Calvin Beale comes in with three chromatic bass notes, and a new cycle is born, as the synthetic becomes merged with the acoustic once and for all. 

This consistent interplay, decisiveness and willingness to embrace dissonance makes for an equally engaging exercise in exactness and freedom. Because of all the percussion and rhythmic playing it feels like every inch of the time feel spectrum is always accounted for, but never in an overbearing way. It also feels like there are multiple ways to listen to this, and they’re all equally fruitful. If one allows themselves into a trance, they will emerge in a completely new location. If oneclosely listens the whole way, they will glean an entire universe. Also, the end credits (Darn Credits) are hilarious, and a wonderful touch. 

Christopher Parnis – Everything You Could Be
Christopher Parnis; Brian Dickinson; Christian Antonacci; Matt Greenwood; Aaron Blewett
Independent CDP001 (christopherparnis.com)

Young Peterborough-born double-bassist Christopher Parnis has quickly and steadily climbed the ladder within the jazz world in these past few years. Once you’ve performed and recorded with the likes of Reg Schwager, Robi Botos and Terry Clarke, I think it’s quite safe to say that you’ve made it. And so, this latest recording by Parnis shows just what he’s capable of, not only as a composer and musician but also an accomplished bandleader. Featuring a stellar lineup with musicians such as Brian Dickinson on piano, Matt Greenwood on guitar and Christian Antonacci on trumpet and flugelhorn, there’s no doubt regarding the high calibre of Parnis’ compositional talents. The entire album is loaded with original works penned by the bassist himself, as well as his bandmates. 

Canadian jazz legend Don Thompson has praised the record highly, calling it, among other things, “hauntingly beautiful.” There’s really no better way to describe the essence of these tunes, how they meander through jazzy soundscapes that differ from note to note. From contemporary jazz to a more traditional sound, this album has something for everyone. Take Opportunity for example: the moving drum rhythms of Aaron Blewett accompanied by a soaring horn melody doubled up by the electric guitar is just the right balance of nostalgia and modernity that appeals to many. A highly recommended addition to the collection of any jazz aficionado looking for a foray into the world of contemporary jazz.

Hold on to Me
Marie Goudy’s Paloma Sky
Independent (mariegoudy.bandcamp.com/album/hold-on-to-me)

Debut recordings can be haphazard; a slew of disparate ideas held by a slender thread and nary a cohesive theme. But certainly not Hold On To Me, a beautifully crafted vivid love letter, as if written from one character to another, where both characters come alive. It is no matter that there are subplots with secondary characters entering the landscape, it makes for a brightly coloured and multi textural soundscape. 

There may be more viscerally exciting contemporary ensembles around, who write and perform more daringly imaginative original work. But in Paloma Sky the wonderful Marie Goudy (vocals, trumpet, compositions) leads a group of musicians who are unfailingly musical. And where others may dazzle with gratuitous pyrotechnics Paloma Sky replaces such musical egotism with compelling narrative performed with deeply lyrical intensity. 

Goudy leads with poetics redolent of exquisitely sculpted phrases, often rendered in molten curved shapes. The basis for all of this are her compositions themselves, which radiate heat from characters who are cast in the slow burn of emotional warmth. Vocalist Jocelyn Barth makes these stories come alive as if she has lived them herself. She and Goudy give thoughtful interpretations that allow the space for musicians – pianist Stu Harrison, bassist Nick Arsenault, drummer Andrew Scott (and saxophonist Alison Young on Mexico) – to excavate rich details of articulation and tone colour. The producing hand of the celebrated Elizabeth Shepherd is felt everywhere.

A Change of Pace
Greg Amirault Trio
Independent (gregamirault.bandcamp.com)

Greg Amirault is a Montreal based jazz guitarist and A Change of Pace is his fourth album as leader; it contains six original compositions and three standards. One of this album’s strengths is how well Amirault plays with the other members of the trio (Adrian Vedady, bass and Andre White, drums) partly because they have been hosting a weekly jam session in Montreal for over a year.

I am immediately impressed by the clarity of Amirault’s tone whether he is swinging, voicing gorgeous chord solos or playing lyric melodies. All the jazz pieces are performed with assurance and style by everyone in the trio. Two originals stand out: Ballade pour La Butte is a beautifully rendered folk-influenced homage to the Acadian village where Amirault grew up and Ancestral Roots which is similarly inspired by his Acadian and Aboriginal roots. Both works offer a space for Vedady to present his sensitive solo bass playing. The top-notch performances, the mixture of standards and original jazz tunes, plus the folk influences, make A Change of Pace a unique and engaging album.