Proliferation of CD burners, sequencing and editing software and the exponential growth of the Internet have opened up new possibilities for disseminating music. This is especially germane for improvised and other minority sounds. By avoiding the expenses of mass distribution and manufacturing music can reach more interested listeners. Formulae have been developed to do so and each of these fine sessions uses one.

             

01_EricNormandRimouski, Quebec-based bassist/audio artist Éric Normand, who performs at Somewhere There this month, allows listeners to download sounds from his website www.tourdebras.com. One example of this is Une Règle de Trois (Tour de Bras tdbouebe002). A hand-drawn CD cover can be downloaded as well. Recorded live, this is a super-session of sorts featuring collaborations among improvisers from Rimouski, Montreal and Montpellier, France. Most of the sounds balance on steady crunches and crackles from three turntablists, with wiggling flanges and flying spiccato reprises from fiddler Catherine Massicotte and guitarist Christophe Devaux, plus puffs and bellows from Robin Servant’s diatonic accordion. Normand adds aleatoric and agitato smacks bringing the discursive theme in-and-out of aural focus, as the motor-driven clicks and clatters create a pedal point foundation.

 

02_RosenA more sophisticated version of downloadable CDs comes from the French Sans Bruit label. Featuring improvisers pianist Noah Rosen, trombonist Yves Robert and bassist Didier Levallet, Silhouette (Sans Bruit sbr007 www.sansbruit.fr) not only captures the trio live, but also provides a professionally designed front and back cover with recording details. Rosen and his confreres’ disc is as swinging as it is kinetic, highlighting an impressive admixture of timbres, not least of which includes modern gutbucket styling from trombonist Robert. Super staccato, Aesthetic Form for instance is less aesthetic than acrobatic, as Robert’s rubato whinnies slink and sway alongside Rosen’s two-handed pump in the piano’s lowest register, until he slips to the edge of the keys to link up with Levallet’s sul tasto runs. Elsewhere Rosen’s hunt-and-peck technique predominates, along with the trombonist’s triple-tonguing and mouth gymnastics. The session culminates with Bon, bref et puis… with allegro additions from each partner expressed in slaps and pumps from the bassist, cascading comping from the pianist plus foreshortened and jagged bass-pitched slurs from Robert.

             

03_MeshesA more cerebral trombone trio is on Meshes (Another Timbre Byways at-b05 www.anothertimbre.com). This CD-R, with its well-designed cover, demonstrates another method of distribution. Certain that young improvisers wouldn’t need the number of discs in a standard official CD run, the British label created its Byways CD-R series. Certainly this gritty and pressured microtonal program from trombonist Mathias Forge, electronics manipulator Phil Julian and cellist David Papapostolou is one justification for the experiment. During two lengthy improvisations, the interaction and texture-blending is such that it’s frequently impossible to match particular timbres to individual instruments. With Julian’s electronics segmenting into chunky signal- processed lines, pulsating reverb and flat-line drones, multiplied shrills flash through the narratives like rain showers, when the static isn’t undulating underneath. Extended passages of extreme stillness also alter the tonal centre so that whistling squeaks from the cello – often hewn from the strings below the bridge – or blurry triplets strained from the trombone bell, tongue pops and flat-line blowing without valve pushes are more conspicuous. Although discontinuous in spots, the combined undulations made up of cello strings held to maximum tautness, rubato grace notes plus tremolo pedal tones from the trombonist, and electronic drones eventually reach a crescendo of inter-connected friction climaxing with a conclusive whistle and pop.

             

04_GordonAllenBrass and an electronic variant are also prominent on All Up In There (MrE Records 2 www.myspace.com/gordonallen) by Montreal-based, former Torontonian, trumpeter Gordon Allen, who often plays here. Figuring this concert with Frank Martel on theremin and drummer Michel F. Côté was worth preserving, Allen initially created 79 copies of the disc. With liner notes handwritten on a paper bag and the record packaged in a hand-sewn cloth bag, D-I-Y is taken to its logical extreme. But the strength of the performance suggests that more copies may eventually be needed. Sounds are cohesive and wedded to jazz-improv. Although when all musical cylinders fire at once the results appear as a solid textural block, there’s ample room for individual expression. Revealed are Côté’s anything-but-regular rhythms, the trumpeter’s choked-throat growls, and pitter-pattering string-referencing thumps from the theremin. These bass-like strokes are even more prominent midway through, when joining the drummer’s assertive backbeat, they create a solid base, allowing Allen’s plunger tones, grace note squeaks and bovine lows to float above.

             

Proving conclusively that quantity does not mean quality, each session uses unexpected means to get to its intended audiences.

01_jensen_treelinesCanada owes Nanaimo, B.C. for raising artists like Diana Krall and the Jensen Sisters for its national jazz team, a thought underscored by Christine Jensen’s newest recording, Treelines - Christine Jensen Jazz Orchestra (Justin Time JTR 8559-2 www.justin-time.com). The leader, known more for her composing than sax playing, has been based in Montreal for some time and here recruits a top-flight 17-piece Quebecois band for her fourth recording as leader and first with orchestra. Within seconds of the opening tune of eight lengthy, thoughtful and stunningly-stylish compositions (Dancing Sunlight) you’re thinking here’s the nation’s answer to America’s vaunted Maria Schneider unit – and when Ingrid Jensen’s dreamy, lyrical trumpet solos starts you might well exclaim “it’s Kenny Wheeler”. In short, this is an astoundingly good album, one that surely will be a 2011 Juno contender, with seven Jensen tracks including four describing B.C. tree types. Charts are often striking, section work is sharp, subtlety abounds in the thick harmonies and there’s acres of room for effective soloing – Joel Miller on soprano sax (Western Yew), Ingrid (Dropoff) and the boss herself on Seafever and by pianist Steve Amirault throughout. Curmudgeons might sneer that there’s excessive sameness to these mini-epics - ignore them.

 

02_happy_palsWant to keep the post-Olympic spirit? The latest disc from The Happy Pals who’ve reigned for years at Grossman’s on Spadina every Saturday afternoon, is all you need. Folk are in fine fettle here, band and audience both, enjoying music played over the 6th annual two-day Kid Bastien Forever Kick-Ass Jazz Festival – Bastien, who died in 2003, was chief Pal for more than 30 years. Moonlight Bay (New Orleans North cd-010 www.happypals.ca) has 14 tracks, good old stuff with most of the heavy performance listing falling to Patrick Tevlin’s brash trumpet and esteemed New Orleans guest Michael White’s thrusting clarinet, with big assists coming from trombonist Kid Kotowich and drummer Chuck Clarke. Enthusiastic, erratic vocals are spread around but the jollity index stays high, with upbeat slams on Je Vous Aime, Everybody Loves Saturday Night and Dinah while there’s surprising sophistication in their spin on I’ll Never Smile Again.

 

03_del_dakoFour things make Del Dako’s My New Hat (www.deldako.com) particularly distinctive: It’s the recording debut as leader of vibesman Dako as opposed to baritone saxist star Dako; the liner notes by Jack Chambers are just about the best I’ve ever read; the determination of Dako to renew his career here is front and centre; and the choice of repertoire is extraordinary – such as the purloining of Beethoven’s 7th Theme from the Seventh Symphony and the two versions of avant pianoman Don Pullen’s Big Alice which suggest Ornette Coleman is on board. Perhaps it’s best just to say this is fascinating jazz with a vibes sheen that underlines the uniqueness of it all. The music’s drawn from two sessions, both with drummer Jeff Halischuk, one with guitarist Reg Schwager, pianist Bernie Senensky and bass Duncan Hopkins, the other with rising star guitarist Nathan Hiltz, bass Tyler Emond and reedman Alex Dean, whose bass clarinet work is terrific.

 

04_norm_amadioPianist Norm Amadio has been around for ever, still happily tinkling after more than six decades as a pro and that’s just one reason why he’s so comfortable on Norm Amadio And Friends (Panda Digital ODCD00265 www.pandadigital.com), a classy, stylish treatment of a dozen songs (remarkably, seven of them originals by producer Andrew Melzer). As well as vocalists Marc Jordan and Jackie Richardson, Amadio’s buddies include elegant-as-ever Guido Basso, Phil Dwyer, Reg Schwager, and Rosemary Galloway plus, on three cuts, a string section. The result is top quality jazz, ornamented with unexpected zesty freshness. Catchy newcomers include I Love You That Way, Out Of The Cool and She Smiled. One oddity: Why was it necessary to include three tunes recorded in 1966?

 

05_attila_fiasHungarian-born pianist Attila Fias seems to have done it all during a long musical career - including playing, teaching and organizing all types of music – except make a jazz record though his work is on more than 80 discs. He’s remedied that with Stories (ESPCD-101 www.attilafias.com), 10 original compositions supported by bass Pat Kilbride and drummer Richard Brisco. A graduate of U of T’s jazz program, Fias – who on occasion is as fiery as countryman Robi Botos – hews close to mainstream’s core but he incorporates rich, rolling rhythms, elements of rock, country, classical and ethnic genres and sometimes dips craftily into free jazz. The intricate Growth Cycle threesome is the best of a bright lot.

06_SpectrumSpectrum

Muhal Richard Abrams; Roscoe Mitchell; Janáček Philharmonic

Mutable 17536-2 www.mutablemusic.com

 

Veteran American improvisers, pianist Muhal Richard Abrams and saxophonist Roscoe Mitchell get a rare showcase for their notated works on this notable performance by the Janáček Philharmonic of the Czech Republic, conducted by Petr Kotik. Surprisingly enough for two sound explorers identified with the avant-garde Association for the Advancement of Creative Musicians (ACCM), both commissions, Abrams’ Mergertone, and Mitchell’s three-part Non-Cognitive Aspects of the City, use the full resources of the orchestra to add lush, impressionistic colouration to the many harmonies and timbres exposed.

             

A fantasia, Mergertone does exactly what the title suggests, layering and contrasting multiphonics. Moderato, it exposes individual instruments as the theme advances. Pounding kettle drums, insinuations of Ragtime piano plus marimba and xylophone clatter share space with cushioning strings, a slinky oboe line, pan-tonal horn parts and a smooth and soothing tutti finale.

             

Featuring the cultured tones of baritone Thomas Buckner, the Mitchell piece, initially composed for his Art Ensemble of Chicago group, gains added gravitas from Buckner’s parlando, which mixes outright recitation with a suggestion of plainsong. As the baritone uses melisma to alter the lyrical line, orchestra cadenzas sympathetically scene set, embellish and subtly follow the tempo changes. Chromatic massed reed flourishes, string undulations, metronomic piano patterning and grace notes from the French horns also turn repeated phrasing from mere accompaniment to partnership.

             

As a prelude to the extended philharmonic performances, the two composers unite on Romu, the CD’s first track, a brief, low-key improvisation.

 


05_ranee_leeRanee Lee Lives Upstairs

Ranee Lee

Justin Time JUST 230-2 (www.myspace.com/raneeleemusic)

 

The multi-talented Brooklyn-born, Montréal-based singer, actor, dancer, author and television host Ranee Lee is a recent recipient of the Order of Canada (2006). Notably, she began her musical career touring North America in the 1970’s as a drummer and tenor saxophonist. Wearing the vocalist hat, Lee has always exhibited a fervent loyalty both to the jazz tradition and its regal torch-bearers; captured live at Montréal’s premier jazz clubs UPSTAIRS, her 10th release on the Justin Time label is no exception.

 

Recalling both Ella and Sarah, she has selected a very effective, sympathetic rhythm section that always supports and never overpowers her: Richard Ring on guitar, John Sadowy on piano, Morgan Moore on bass and Dave Laing on drums. The program is comprised mostly of love-themed standards such as Beautiful Love, In Love In Vain and I Just Found Out About Love, spiced up by unique choices such as James Taylor's Fire and Rain and Pat Metheny's Crooked Road. One of the highlights is a medley from Gershwin’s Porgy and Bess that starts tenderly with I Loves You Porgy and concludes memorably with a beautifully phrased Summertime. The latter is a testament to Lee's artistry, as she takes admirable risks, playing with the song's musical possibilities without ever compromising its meaning. That the audience reacts most enthusiastically to her original blues The Storm is a genuine compliment. This recording is rightfully among the nominees for this month’s Juno Awards in the category of Best Jazz Vocal Album.

 


04_elizabeth_shepherdHeavy Falls the Night

Elizabeth Shepherd

Do Right Music DR041CD (www.elizabethshepherd.com)

Elizabeth Shepherd has a roving musical spirit that has seen her move from playing saxophone, to classical piano, to jazz piano, then add singing and songwriting to her considerable arsenal of skills. With her third album she has landed on what can most closely be described as jazz-funk, but there are tinges of all kinds of genres here. “Heavy Falls the Night” - as the name implies - has a somewhat dark, pensive feel to it, owing largely to Shepherd's fondness for minor keys and tightly-voiced, dissonant vocal harmonies.

 

The opening track, What Else, sets the serious tone as it describes the frustration and pain of having a suicidal loved one. But there are lighter musical moments too, such as the breezy retro feel of Seven Bucks - reminiscent of KOOP - and High with its drum’n’bass undercurrent. Shepherd has a pretty, breathy voice with Rickie Lee Jones influences, especially on A Song for Dinah Washington which is based on a poem by James Strecker. Her longtime bandmate Colin Kingsmore, is an inventive drummer and percussionist, while the lyrical bass work is divided between Scott Kemp and Ross McIntyre. The final track, Danny’s Song – yes the Anne Murray hit – ends the album on a note of sweet incongruity that gives us a glimpse into yet another side of Shepherd's multi-faceted musical personality.

Concert Note: The Elizabeth Shepherd Trio plays April 29 at the Mansion House in Kingston and April 30 at House of Jazz in Montreal.

03_christopher_plockBlue Skies for Loveday

Christopher Plock

Independent CP 002 (www.christopherplock.ca)

 

Accomplished on multiple instruments including various horns, clarinet, flute, guitar and percussion, for the most part multi-talented Christopher Plock’s second release as a leader emphasizes the musician’s abilities as a singer and saxophonist. On this recording he “limits himself” to vocals, woodwinds and congas, backed by a sublime band that includes Eric Boucher on piano, Jack Zorawski on bass, Chris Lamont on drums, William Sperandei on trumpet and a particularly memorable Kevin Vienneau on guitar. Guests include Marcus Ali and trombonist RJ Satchithananthan, who also contributes two spirited arrangements. The program: a dozen selections that vary from familiar standards (A Foggy Day, Paper Moon, Stardust) to surprising selections, including a groovy rendition of Kenny Burrell’s Chitlins con Carne and an instrumental version of Neil Young’s Only Love Can Break Your Heart.

 

One track that isn’t really jazz (not that there’s anything wrong with that) is a cover of John Hiatt’s Feels Like Rain, delivered with ample heart. On all other vocal tracks, Plock’s crooning is effectively simple and simply effective; he sings with measured sentiment, musical phrasing and a solid swing feel. Confident and especially convincing, I’ve Got the World on a String is a standout among the vocal cuts. Of the instrumentals, the Jersey Bounce is a straight-ahead bouncer that’ll swing you to good health!

 


01_irene_atmanNew York Rendezvous             

Irene Atman             

Independent (www.ireneatman.com)

 

The first thing that strikes you when you hear Irene Atman sing for the first time is that she's apparently spent a lot of hours listening to Barbra Streisand. Fortunately for those of us who aren't huge Streisand fans, she's emulated the good stuff – excellent control, pitch and a big range – and discarded the tendency to turn every tune into a three-act opera. Toronto-born but now New York-based, Atman gives the impression of someone who has been around the block a few times – in a good way. Listening to “New York Rendezvous” you feel you're in the hands of a complete pro. Her bandmates add to that experience as piano player Frank Kimbrough, Jay Anderson on bass and Matt Wilson on drums assuredly make their way through this collection of late era standards. Songs like Taking a Chance on Love and Time After Time are light, swingy treats, but Atman is at her best on the ballads such as Why Did I Choose You and Alfie as she beautifully conveys the sentiments of the songs without tilting over into schmaltz.

 

Concert Note: Atman teams up with Guido Basso and other Toronto jazz luminaries for a CD release event at Jane Mallett Theatre on April 16.

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