Jazz and Improvised

The Soundmakers Project
Ineke Vandoorn; Marc van Vugt; Christine Duncan; The Soundmakers
Baixim Records (baiximrecords.bandcamp.com/album/the-soundmakers-project-2)

Canadian vocalist Christine Duncan has covered the waterfront when it comes to inventing ways to use a human voice and is no stranger to virtually all styles of music. Born into a travelling fundamentalist Pentecostal musical family, she wove her way through R+B, blues, jazz and contemporary opera before she hit the ground running when she arrived in Toronto from Vancouver in the early 2000s, eventually landing in the improvising scene. 

In 2007, Duncan and her partner, drummer Jean Martin, applied for a grant for her to develop a vocabulary of hand signals for improvising choir and to assemble a group on a more permanent basis. Their successful application allowed the duo to develop the concept of the Element Choir, both by taking cues from other vocal improvising directors before her such as Butch Morris, the London Improvisers Orchestra, Anthony Braxton, John Zorn and others, as well as creating Duncan’s own unique conducting style, and her hand signals have become a fluid and organic response to her musicality. 

Her joy of sharing her love of sound and community is profoundly evident as well as her expert leadership and experience (Duncan is also an active educator, teaching in the jazz programs at Humber College and the University of Toronto since 2003). For anyone not familiar with the choir, she leads the group of non-professional vocalists into challenging soundscapes of noises, chatters, whispers and wails all with practiced hand gestures and signals, and has continued to refine her skills to become the world leader in structured improvisational vocal ensemble. 

In walks The Soundmakers, a Dutch Grammy-winning duo Ineke Vandoorn, vocalist, and Marc van Vugt, guitarist, who lead an ensemble of 50 improvising (again, non-professional) vocalists, and who witnessed Duncan’s work with the Element Choir. By 2024 they invited Duncan to combine their music with vocal soundscapes under her direction with their own Soundmakers, leading to the creation of the Soundmakers Project. Featuring compositions by Vandoorn and van Vugt, Duncan so expertly guides the group that on occasion – such as the first track Hatfield 22 – it’s hard to believe the sounds coming from the group. 

The third track Soundmakers Choir Improvisation demonstrates the range of colour Duncan draws from the group. The Collar is a dense, humorous collection of expressive meows and melodies that perfectly backs the jazzy libretto and guitar breakdown. A truly beautiful track La Caresse is expansive and ethereal along with the final Soundmakers Improv 1. The album is a beautiful showcase of music and community, and kudos to the Dutch group for bringing Duncan together with their compositions. 

To see Christine Duncan live is to marvel at the skill, musicianship and sheer joy she imparts. Check out the teaser video for this album online, or find her with the Element Choir collaborations with Inuit singer Tanya Tagaq and the Toronto Symphony.

Listen to 'The Soundmakers Project' Now in the Listening Room

I am Here
Steve Amirault
Independent (steveamirault.bandcamp.com/album/i-am-here)

Montreal-based pianist, composer, vocalist and B3 organist, Steve Amirault has been referred to by noted journalist Paul Wells as “a Grand Master,” and nothing could be more true or well-deserved. Nova Scotia born Amirault has graced international stages with an array of iconic jazz musicians, including the late Sheila Jordan, Joe Lovano, Dave Liebman and Eddie Gomez. In his new recording, Amirault plums his emotional and artistic depths with 12 original solo piano compositions that run the gamut stylistically, often incorporating subtle influences of his jazz heroes, which include Monk, Bud Powell, Ahmad Jamal and the Michel Petrucciani. Having begun his musical journey as a drummer, Amirault easily imbues every track here with a palpable rhythmic backbone as well as nearly unbearably gorgeous melodic lines. 

The programme opens with Wednesday Waltz. Sweet, lilting and intricate – Amirault’s fingers and ridiculous chops literally dance across the keys, on this nostalgia-tinged track. Of special beauty is Empathy – stark, moving and rife with almost Gospel-like motifs that Amirault utilizes to explore the uplifting process and sometimes the bitter dues of being an essentially empathetic human being at this time, on this earth.  

Another stand-out is Soho Dreams, a lyrical, groovy reverie that paints a picture of a beloved NYC neighborhood – with all of its fabulous contradictions. The deeply moving title track closes the project, and wraps this stunner of a recording with Amirault’s incandescent and soulful art – a heady cocktail of stunning technique, emotion and a wealth of complex musical ideas fearlessly and lovingly presented. Bravo!

Listen to 'I am Here' Now in the Listening Room

It’s All So
Brad Turner; Trio Plus One
Cellar Music CMF090924 (bradturner.bandcamp.com/album/it-s-all-so)

Much of what I wanted to discuss about It’s All So is already covered in the album’s detailed and eloquent liner notes. The music speaks for itself too, and hopefully this review provides context in the form of a glowing recommendation for those who have yet to listen.

Brad Turner is a stalwart Vancouver-based multi-instrumentalist, composer, and educator who I first heard on trumpet. Unlike some who merely dabble on other instruments, Turner brings a unique and masterful voice to any tool of expression. That tool is piano on It’s All So, and the “plus one” of Turner’s Trio Plus One is percussionist Jack Duncan.  

Duncan is a creative guest, joining Turner’s longstanding rhythm section of Darren Radtke on bass and Bernie Arai on drums. The piano trio format offers ample creative space, and Duncan adds steady grooves without “boxing in” any of the album’s eight selections. Turner penned each composition for the musicians present, save for an arrangement of Cole Porter’s Love For Sale that is unique enough to sound like another original. 

Jazz is at the heart of It’s All So, but the album features grooves equally appropriate under the “Latin” umbrella. The compositions and playing remind me of Woody Shaw and Clare Fischer at times, among other artists who expertly fused these genres. This could suggest a departure from the hard-swinging catalogue of Cellar Music, but after repeated listening the album fits their mandate to a tee. This is a unique and memorable addition to Turner’s discography.

Noam Lemish – There’s beauty enough in being here
Noam Lemish; Sundar Viswanathan; Andrew Downing; Nick Fraser
TPR Records (noamlemish.bandcamp.com/album/theres-beauty-enough-in-being-here-2)

In mid-November 2025, I attended the album release concert for jazz pianist/composer Noam Lemish’s newest project, There’s Beauty Enough in Being Here. The house was full, the energy warm and inviting, the music-making superb and uplifting! While indeed there was beauty enough in being “there” in person, this “gently ravishing” (an irresistible one-sheet quote) CD effortlessly conveys those same elements of warmth, grace and beauty.

A consummate musician on every front – player, composer, accompanist, collaborator, innovator, pedagogue – Lemish continues on his “trademark” multicultural, boundary-expanding, genre-blurring journey with this album. Inspired by the “be in, and appreciate, the moment” sentiment of Portuguese poet, Fernando Pessoa’s poem titled, Beyond the Bend in the Road, the nine captivating, original tracks incorporate jazz idioms, Middle Eastern sounds, Classical music and Himalayan folk tunes. 

Joining Lemish are first call musicians on the Canadian jazz scene: Sundar Viswanathan on saxes and bansuri, bassist Andrew Downing and Nick Fraser, drums. With ease and sensitivity, this all-star quartet delivers the contemplative, mysterious, expansive and hopeful sounds and sensibilities that permeate the album. Aviv (Hebrew for the spring season) is lyrical and moody, with gorgeous overlays between sax and piano. Kadrin Gatshor (Gratitude) is a beautifully melodic homage to the Bhutanese people. About 20 years ago, Lemish wrote It Was There All Along, and recently “rescued” the then untitled piece from languishing in an old, composition notebook. It is lovely. So are the remaining tracks, particularly the stunning, Schumann-inspired The Poignancy of Now.

There’s more than enough beauty here.