Jazz and Improvised

Cellar Live is a Vancouver jazz club with its own prolific record label (www.cellarlive.com) and an owner-performer-composer chief in the enterprising Cory Weeds, who’s also a deejay and record producer. Here are two of its newest releases.

Trumpeter Chris Davis is a relatively new member of the West’s jazz elite and he shows why with Baila Bonita (Cellar Live CL020510). In an unusual combo with alto saxist Ian Hendrickson-Smith, bass Adam Thomas and drummer Jesse Cahill, U.S.-born Davis soon suggests the style, fluency and attack of a 1960’s Freddie Hubbard, though tune structures are more complex and demanding, often involving pleasing unison runs. On six of the nine tracks he wrote, Davis displays well-thought-out ideas. The front line’s especially chipper on West 42nd Street, offers a brawny All That Glitters with the leader’s throwback Latin trumpet while the craftily charted You Dig is a post-bop rallying cry with busy pulse-stirring Cahill roaring vigorously here and on the succeeding Iniquity. Elegant muted trumpet, pretty alto counterpoint and provocative march beat round out this impressive disc.

The boss has to have an occasional piece of the action, so here’s The Cory Weeds Quartet declaring Everything’s Coming Up Weeds (Cellar Live CL011909). The music’s played by the band Weeds brought to Ontario earlier this year – American trumpeter Jim Rotondi plus western stalwarts Ross Taggart (piano), John Webber (bass) and Willie Jones III (drums). The leader on tenor and Taggart contribute three cuts apiece, and the mood’s soon set for a typical mainstream performance with the opening B.B.’s Blue Blues highlighting Weeds’ hard-blowing approach and buzzing thrust on I’ve Never Been In Love Before and how he lovingly handles a ballad (Little Unknown One). The boss’ best tunes are Bailin’ On Lou which has catchy hooks and the punchy 323 Shuter. (Not to diminish this session, Toronto has a number of bands of this calibre – why aren’t they heard more on record?)

An album honouring the great music of the late Steve Lacy, an American who spent his last years in France, is well worth seeking for enjoyable interpretations of eight of his songs by Toronto band The Rent whose Musique De Steve Lacy (Ambience Magnetiques AM 197 CD www.actuellecd.com) is a very accessible commentary on a leading avant-garde figure’s legacy. Kyle Brenders renders soprano sax, Lacy’s instrument, alongside suave improviser Scott Thomson (trombone), Wes Neal (bass), Nick Fraser (drums) and Susanna Hood (voice) – the latter a vast improvement on shrieking Lacy vocalist (and wife) Irene Aebi. Brenders’ abrasive tone goes beyond most Lacy, but there’s witty trombone counterpoint and attention-grabbing solos. With voice added the Lacy spirit comes across best. If the title track is merely chirpy, the five-part suite Blues For Aida is beautifully worked, voice fully integrated with horns. Other gems include an austere The Bath and an upbeat A Ring Of Bones.

Brownman, the artist formerly known as Nick Ali, is a hyper-busy trumpeter who heads six bands, is music director for others and turns up everywhere on the musical map. Here he’s the core of Brownman Electryc Trio’s Juggernaut (Browntasaurus Records NCC1701E www.brownman.com). It’s a lively, entertaining and hip tilt at some standards on which he’s backed by the electric bass of Tyler Edmond and drummer Colin Kingsmore on six lengthy tracks. The atmosphere is seriously funky and draws on rock, hip hop, drum ‘n bass and more, with a burning Yesteryear, just recognizable as an ear-bursting take on Yesterdays, opening the show at The Central. The music’s muscular and quick, much of it thrilling if you can deal with the decibels. The group is at its best when playing together, as Brownman employs a host of pedals and devices that let him dub his instrument electric. Enjoy spirited, original versions of Stolen Moments, Coltrane’s 26-2, Hubbard’s Red Clay and two Brownman tunes, Evolution Revolution and the titlepiece.

The Worst Pop Band Ever may be the jazz world’s worst title (but then there’s JMOG of course) but the quintet makes smart if curious music. Dost thou believeth in science? (PPFTS-002 www.wpbe.bandcamp.com) is a 10 track collection of jazz improv inflicted on would-be or real pop tunes (I think) interspersed with earnest scratchings on turntables by LEO37. Leading with an insistent beat is drummer Tim Shia, with saxman Chris Gale, bass Drew Birston and keyboardist Daffyd Hughes. It’s all easy on the ear, expertly and effortlessly delivered with elaborate solos and surprising heat. There’s also a laconic vocal from Elizabeth Shepherd on the Bacharach-David authentic pop tune Close To You. Bandsmen are responsible for most of the others, of which my ‘top of the pops’ are Man Down, Pul, and Bits And Pieces.       

The third album by Toronto’s Scott Marshall offers 71 minutes of reflection on 14 pieces designed to show his versatility and finesse in the company of pianist Marcel Aucoin, bass Wes Neal and drummer Nick Fraser. Yet The Scott Marshall Quartet on Vignettes (amy music SMT003 www.scottdouglasmarshall.com) lacks the focused excellence of his previous entries “Face It” and “New Moments Of Time”. The leader composed 12 of the 14 tunes and on them plays tenor sax, soprano sax and flute, as dexterously as on classical, pop and world music outings but there’s little beyond the competent-plus mainstream to excite here. There are however interest-piquing moments, such as the two versions of The Vespers, Glamourama, Ode To Old School and Lope.

Although the romantic image of a lone trumpeter has been standard in jazz since the time of “Young Man with a Horn”, musically it’s actually more difficult for a trumpet to be the sole horn in a band – at least until freely improvised music rewrote the rules a few decades ago. The reason is simple: unlike the saxophone’s many keys which the soloist can manipulate for different timbres, the trumpet has only three valves and a length of tubing. Brass players thus most often work with a reed partner or as part of an ensemble. However these CDs, featuring mostly Canadian casts, show that notable sessions can appear no matter the instrumental make up.

Toronto-born, Brooklyn-resident David Smith’s Anticipation (Brooklyn Jazz Underground Records BJUR 015 www.bjurecords.com) is the most conventional of the discs, with Smith and Montreal-born drummer Greg Ritchie playing in a quintet filled out by tenor saxophone, guitar and bass. Working out on one standard, a Coltrane line and five originals, the band rarely strays from the expected head-solo-head formula, with Smith’s bright playing amply backed by saxophonist Kenji Omae and guitarist Nate Radley. Standouts are the trumpeter’s compositions, Bittersweet, a gentle line celebrating his daughter’s birth with tremolo tonguing; and The Question, a contrafact of Monk’s Ask Me Now, built on cascading horn lines from Omae and a tough brassy break from Smith. Throughout Smith illustrates his instrument’s restrictions, since many of his solos feature complementary runs from Omae, while Radley’s fleet-fingered chording and limber picking dominates most of the tunes.

Ex-Torontonian, now Montrealer, trumpeter Gordon Allen plus saxophonists Jean Derome and Philippe Lauzier take an equally standard role as backing horn section on Montreal band Klaxon Gueule’s Infininiment (Ambiances Magnétiques AM 194 CD www.actuelle.com). Throughout the 13 minimalist tunes the horns extend or amplify improvisations from the band’s core trio – guitarist Bernard Falaise, bassist Alexandre St-Onge and percussionist Michael F. Côté. Concerned as much with mood and texture as melody, the scene-setting arrangements frequently find single horn parts providing brief commentary on Falaise’s popping guitar licks, St-Onge’s pulsating rhythms or the knitting-needle-like clatter of Côté’s delicate drumming. The bass line serves as a pedal point drone on Momo Pèle, for instance, which fades away following dissociated drum beats, but not before Allen has pumped out a bugle-like reveille. In contrast singular note extensions from one saxophone plus chromatic mellow timbres from the trumpeter inflate from distanced peeps to provide a counterweight to dissonant guitar-string snaps and abrasive strums on Brown Suinte.

Altering the paradigm so that each instrument is as important as any other creates a more equitable and satisfying performance – and boosts the trumpet’s role. Toronto’s Jim Lewis, Andrew Downing and Jean Martin demonstrate this On a Short Path from Memory to Forgotten (Barnyard Records BR 0311 www.barnyardrecords.com). Consisting of 10 instant compositions, there is no foreground or background instrument. One tune for example could be a capriccio, as Lewis’ joyful trumpet blasts define the theme; another is dependent on Downing’s thumping bass pulsations; and almost all are illuminated more by the splashes of multiphonic color Martin creates with gamelan-like bell tones and triangle resonation than a steady beat from his regular kit. Showcasing Lewis’ phrasing, which ranges from staccato heraldic blasts to graceful flutters, is Eight, the tune in which his moderated a capella puffs give way to a rubato, double-time version of theme and finally to aviary chirps plus whistling resounds. These intertwine with martial rolls and rebounds from Martin and walking slap bass from Downing.

A refinement – or coarsening – of this strategy is displayed by Vancouver’s Inhabitants, on A Vacant Lot (Drip Audio DA 00579 www.dripaudio.com), which adds the guitar of Dave Sikula to the basic trumpet (JP Carter), bass (Pete Schmitt) and drums (Skye Brooks) trio. Another major difference is the use of electronics, with Carter’s heavily miked trumpet’s pulsating alongside Sikula’s folksy strums. Eschewing a steady beat Schmitt and Brooks still use string strokes and harsh backbeats to prevent otherwise airy timbres from ascending into the stratosphere. Pacific Central is the representative track. After a minimalist introduction that’s mostly acoustic guitar and trumpet peeps, the piece opens up and accelerates to full-bore polyphony with hard drum ruffs, staccato guitar licks and trumpet shakes which cascade chromatically then fade, while still encouraging the group’s affiliated pulses. This is electrified music with a touch of dissonance.

By crafting new roles for trumpeters within improvising combos, these Canadian players have produced memorable CDs.

Long-established jazz groups have become as common as pop hits based on Mozart melodies topping the charts – they sometimes exist. But with accomplished improvisers tempted by side projects, bands often reconstitute and sidemen regularly have their own gigs. In most cases, though, this doesn’t affect the music’s quality.

Two bands confirm these realities. Ken Vandermark’s Vandermark5 (V5), which is at SPK (Polish Combatants Hall) June 17, has been together with only one personnel change for almost 15 years. Yet even Chicago-based Vandermark is involved in multiple side projects, as The Frame Quartet - 35 mm demonstrates. V5 members, cellist and electronics-player Fred Lonberg-Holm and drummer Tim Daisy are represented as well. Meanwhile saxophonist Dave Rempis, a V5 fixture for 10 years, shines on Cyrillic, a duo with drummer Frank Rosaly. New York pianist Matthew Shipp, whose trio plays June 13 at Gallery 345 on Sorauren Ave. is similarly part of numberless formations. Nu Bop Live involves some of his cohorts, who won’t be in Toronto. For an idea of what piano/bass communication sounds like involving Michael Bisio, the bassist who is in Shipp’s Toronto trio, there’s Session at 475 Kent  with Connie Crothers.

The Non-V5er on 35 mm (Okka Disk OD 12078 www.okkadisk.com) is Nate McBride, whose thick acoustic bass lines, electric bass thumps and manipulated wave forms distinguish this disc. Strident friction from Lonberg-Holm additionally gives the CD’s five long selections a rough-hewn quality, enhanced by Daisy’s reverberating and pinpointed cymbal slaps, not to mention Vandermark’s soloing which encompasses straight-ahead licks or tongue slaps on tenor saxophone and feathery clarinet trills. This is especially notable on Theatre Piece (for Jimmy Lyons) which links decisive sawing from the cellist, restrained plucks from the bassist and clatters, pops and rim shots from the drummer as Vandermark’s sound ranges from tremolo pitch-sliding on the clarinet to tongue-moistured saxophone flattement, flutters and split tones. Mid-way through, the tempo halves to allegro to expose faux romantic cello sequences that gradually shatters into sul ponticello lines mated with harsh, low-pitched saxophone rasps, balanced on crackling and buzzing electronics. Eventually the piece ends with an exposition of disconnected timbre-shredding from Vandermark and a conclusive string slap from the cellist.

Halve the number of players and double the performance intensity for Cyrillic (482 Music 482-1064 www.482music.com). Completely improvised, the selections include those with cymbal-chiming funk grooves, replete with honking reed patterns, plus others featuring smeared double-tonguing from Rempis, where he never seems to stop for breath, matched with rim shots and side spanks from Rosaly. Most impressive are In Plain Sight and How to Cross When Bridges are Out. The former, which could be a deconstructed classic R&B line, gains its rhythmic impetus from Rempis’ guttural baritone saxophone snorts. The latter is like a face off between never-ending ratcheting, rolls and ruffs from Rosaly’s Energizer Bunny-like drumming and Rempis’ Eric Dolphyish-alto saxophone with its broken-octave staccato runs and wide split tones. Changing the agitato tempo to andante, the tune slips into uncharted aleatory territory, echoing with excitement and abandon.

Both those adjectives are also on show on Shipp’s CD Nu Bop Live (Rai Trade RTPJ 0015 www.matthewshipp.com), especially on the 26-minute Nu Abstract suite. Putting aside the many-fingered staccato patterning on other tunes, the pianist initially restricts himself to occasional plinks, as drummer Guillermo Brown use electronics to unload crackling signal processing and hissing voice patches. After the pianist constructs a many-layered impressionistic response, he joins with William Parker’s fluid bass line and saxophonist Daniel Carter’s tightened reed snarls, in multi counterpoint. The performance swells to shrieking horn glossolalia, stretched and scattered bass-string movements and the pianist’s cascading note patterns. Climaxing alongside Brown’s explosions of drags and bounces, Shipp’s raw, exposed notes layer the interface alongside Carter’s strident altissimo cries and Parker’s triple-stopping.

Sophisticated piano-bass double contrapuntal interaction get an even better showcase on Session at 475 Kent (Mutable 17537-2 www.mutablemusic.com) as every tune is a culmination of Crothers’ thickly voiced, chromatic chords working out a challenge or response to Bisio’s chiming, slapping string reverberations. Chamber interludes, the CD’s four lengthy tracks evolve similarly to Resonance, the CD’s climatic finale. With Bisio double-stopping and pulling his strings fortissimo, Crothers’ glissandi and metronomic pumping, gradually give the sympathetic dynamic a novel undercurrent of unrelieved tension – embellished by the pianist’s strumming syncopation and the bassist’s woody string-stopping. Lightening her touch with freer harmonies, Bisio follows and shifts downwards into diminished pulses until the notes from both directions merge into a satisfying, protoplasmic whole.