Jazz and Improvised

Moon Over Lake - Roddy Ellias

Moon Over Lake
Roddy Ellias
KWIMU Music KW-007 (roddyellias.bandcamp.com/album/moon-over-lake)

When inevitably transfixed and immersed in the sheer lushness that emanates from Roddy Ellias’ guitar, it is easy to forget you’re listening to a collection of songs, rather than one self-contained piece. When faced with such a dizzying array of odd pulses, phrases without clean endings, and several texturally rich sections where Ellias sounds like he has cloned himself, there can arise a temptation to overanalyze, attempting to grasp a firm hold of all that feels increasingly less tangible. To give into these urges keeps the listener at a distance, which stands at odds to the vulnerability of Ellias’ creative endeavour.

Short, imagery-laden track titles complement the spacious, meditative feeling of listening to multiple voices interacting within one instrument, punctuated by the occasional audible breath (such as the one in Flower) and chord that reverberates through a physical space. Hope deals in resonances, finding hidden melodies within its chordal elements while allowing the inner voices to color much of the mood, each sustained tone lingering as if to convey a sense of yearning. Chant rides an intricate groove through its entire runtime without belabouring it, but always implying it through blissful syncopated runs and occasionally reintroducing its titular refrain in fragments before the triumphant outro.

Nary a composition here overstays its welcome – the overall listen is quite brisk – but they are all intricate parts of a fulfilling, harmonious whole.

Wintertides - Sam Wilson

Wintertides
Sam Wilson
Studio 204 (samwilsonmusiq.bandcamp.com)

The state of the Canadian guitar in the key of jazz has never been in such good shape as it is today. You only have to consider the contributions to jazz literature made by such masters as Ray Norris,Diz Disley, Ed Bickert,Lorne Lofsky, Nelson Symonds, Lenny Breau, Oliver Gannon, Sonny Greenwich, and from Bill Coon to Reg Schwager and Jocelyn Gould. You could fill an entire library of jazz music with those names alone.

To that roster you would have to add the name of Sam Wilson. The young east coast composer and virtuoso instrumentalist displays skill and mature judgement in the performance of her original works. She puts on an exquisite musical display on her fourth recording Wintertides, a homage to the landscapes of the two disparate coastlines of Canada.

Weaving ornate tapestries featuring wonderfully colour-laden notes and phrases Wilson – together with bassist Gordie Hart and drummer Jen Yakamovich – offer subtle, often striking, interpretations of Wilson’s superbly-crafted and affecting miniatures.

Despite meditating on the single theme of relocating “bi-coastal” landscapes to a canvas of soundscapes the settings of each of the ten works couldn’t be more different. Melodic lines are eloquently ornamented. Slowly unfolding harmonies are stimulating, heightening the impressive, sweeping canvases from earth to sky. Dancing urgency of rhythms dapple the music as if adding curved brushstrokes to these musical canvases. The Moon Song and Wintertides are masterpieces.

Tidal Currents: East Meets West - Winnipeg Jazz Orchestra

Tidal Currents: East Meets West
Winnipeg Jazz Orchestra
Chronograph Records CR-109 (winnipegjazzorchestra.com/cd-details---tidal-currents--east-meets-west)

Tidal Currents: East Meets West is the latest offering from the Winnipeg Jazz Orchestra. It’s the seventh release by this ensemble, and fits beautifully into their catalogue without sounding derivative or too similar to their previous recordings. Composers Jill Townsend and Christine Jensen provide the repertoire, based on themes from their respective upbringings on the East and West coasts of Canada. United in the landlocked geographical center of the country, the WJO gives a slick and polished performance of pieces by both composers, featuring soloists from the group as well as Jensen on soprano saxophone.

“Short but sweet” is the best way to describe Tidal Currents, at a runtime of just under 30 minutes. If the group had decided to add an additional track or two, they would not be unwelcomed, but after several listens through the album in its entirety, I’m not left feeling owed anything either. We have gone from an era of 70-plus minute CDs to one focused more around singles and EPs. Whether this programming choice was deliberate or not, Tidal Currents might just be the perfect length to satiate the modern attention span.

It is an impressive feat that the album’s four tracks alternate composers while still functioning together as a suite. This is a testament to both the ensemble playing, and visions of the composers. There is unity throughout an organic set of music, but ample contrast to keep listeners engaged. Albums may be getting shorter, but this means us listeners have no excuse not to digest statements like Tidal Currents in their entirety as intended.

Listen to 'Tidal Currents: East Meets West' Now in the Listening Room

Horns of Hope - Aimee-Jo Benoit; The New Assembly

Horns of Hope
Aimee-Jo Benoit; The New Assembly
Chronograph Records (chronographrecords.com/releases/horns-of-hope)

Calgary-based jazz vocalist/composer, Aimee-Jo Benoit has just released her sophomore recording – a compelling, highly creative collection of music that is a joyous celebration of some of her most seminal influences including songs from Canadian luminaries kd lang, Joni Mitchell, Leonard Cohen, Daniel Lanois and Sarah Harmer. Benoit’s voice is a warm, rich, sonorous instrument – and like a fine violin, and through her masterful communication skills, she is capable of transporting the listener to any emotional plateau desired. Joining Benoit on this exceptional recording are a fine Calgary-based ensemble, including arranger Carsten Rubeling on trombone, Mark De Jong on tenor saxophone and trombone, Andre Wickenheiser on trumpet and a tight rhythm section comprised of bassist Jon Wielebknowski, keyboardist Augustine Yates and drummer Dan Gaucher.

The eight-track programme (including one original from Benoit) kicks off with Barefoot, filled with powerful horn lines, dynamic rhythms and a pitch-pure, velvet-like vocal, which wraps itself around every part of lang’s lyrical poetry, and Rubeling’s innovative and stirring horn-infused arrangement is nothing short of magnificent. A dynamic solo from Wickenheiser is a highlight, as well as the stripped-down coda.

Other delights include a refreshing take on Mitchell’s Little Green, infusing the tune with jazz elements that would delight Mitchell. Goucher’s gorgeous bass work holds this beautiful tune lovingly in his hands. Harmer’s notable You Were Here is presented in the stark resonance of De Jong on baritone, eventually joined by the full ensemble. Benoit sails through and above everything – gracing all with a brush of the wings of her magnificent voice, her skills and her taste.

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Fatrasies - François Houle; Kate Gentile; Alexander Hawkins

Fatrasies
François Houle; Kate Gentile; Alexander Hawkins
Victo cd 137 (victo.qc.ca)

Three masters of the improv craft from three different countries confirm not only creative music’s universality but also how so-called abstract music can be as definitive as any other. Each of the five instant compositions blend American Kate Gentile’s restrained drum pops and rumbles, the UK’s Alexander Hawkins’ refractive pianism ranging from meditative to mauling and Canadian François Houle’s output from two clarinets and electronics that encompasses textures ranging from hissing trills to bagpipe-like drones.

Used sparingly to amplify tones, electronics underline Houle’s versatility since by playing both clarinets at once or dismantling them for extra timbres he produces distinctive sounds from the near opaque to free-flowing. Not to be outdone, Hawkins creates immediate responses to either player’s musical thrusts. For instance on La petite bête he doubles his speed to intersect with the clarinetist’s rappelling up the scale. On Tart ara mon cueur, as blowsy basset clarinet tones widen and intensify, the pianist moves from gentle clinks to splayed percussive pedal action. Gentile responds quickly as well and hard thumps plus cymbal colours join the piano patterns to properly frame Houle’s dual clarinet output so that it becomes moderate and linear.

There are numerous instances of the interaction flowing the other way such as electronic whizzes meeting piledriver piano runs or hollow-sounding reed flutters extending an a capella piano introduction. The (so-far) shared democratic heritage of these countries could serve as a metaphor for how well these three interact.

Crayonnage - Brûlez les meubles

Crayonnage
Brûlez les meubles
Tour de bras/Cicrum Disc 900070cd/microcidi 035 (tourdebras.com/album/crayonnage)

Proof that quiet improvising can be as compelling as faster, louder music comes from this Québecois quartet. Based around the harmonies and broken-chord narratives of guitarist Louis Beaudoin-de la Sablonnière and electric bassist Éric Normand, Jonathan Huard’s vibraphone pings further embellish the 12 tunes while drummer Tom Jacques’ whaps and slaps keep the pieces fluidly linear.

Reflective and relaxed are the adjectives applied to most tracks as guitar strings soar, echo and frail, matched in lockstep by bass strokes. Nonetheless calm shouldn’t be confused with casualness. Tunes like sous les assauts du soleil reveal the drama and emotion that goes into such systematic strategy. Ringing guitar/bass chords showcase and then relax the pressure that initially creates this mixture of light and dark tones. Regardless, it’s the brief empattement which fully defines the entire band’s sympathetic connection. While initial guitar twangs and thumping bass responses suggest the group is heading towards Metal, Jacques’ use of mid-range clips not backbeats confirms the quartet’s creative non rock music stance.

The concluding extended group improv estompes substantiates this. Atmospheric and expressive, Normand’s use of electronics for backing rustles and a looped pulse allows Beaudoin-de la Sablonnière to add a sitar-like echo and ratcheting frails to his tone variations, as the vibist and drummer speed up the backing with temperate textures that are decorative without being delicate.

The moderation expressed on Crayonnage may draw in and be a pleasant surprise for those who eschew improv.

Accidentals - Don Fiorino; Andrew Haas

Accidentals
Don Fiorino; Andrew Haas
Independent (american-nocturne.bandcamp.com/album/accidentals)

Don Fiorino (guitar, glissentar, lap steel, bass, banjo, lotar, mandolin and more) has collaborated for over two decades with Andrew Haas (saxophone) and Accidentals is their third album. Each of the relatively short pieces is a freeform investigation of experimental sound collaborations. Talismanic has percussion (could be a pot banging) with a stringed instrument (could be a bass or low tuned guitar) and the saxophone uses mostly the altisimo range. But it really grooves and its trance-like determination drags you along. Phat Flutter contains a lot of fluttering saxophone sounds with a few multiphonics thrown in over percussive strings.

All the pieces successfully create unique universes in their short durations and also include humour. They seem to be implying: life is short so push the envelope. Obscure fact: Haas, who spends most of the album using only extended techniques, is the same saxophone player who can be heard on the 80s hit Echo Beach (by Toronto’s Martha and the Muffins). He has expanded his playing in amazing ways over those decades. Fiorino comes up with a truckload of sounds from a wide assortment of stringed instruments and constantly provides esoteric but infectious grooves. Accidentals is inventive, fascinating and very deliberate.