01_for_the_first_timeFor the First Time
Hugh O’Connor; Mark Ferguson; John Geggie; Don Johnson
True North Records TND532
(www.truenorthrecords.com)
In an age when almost anyone can put out a CD and almost everybody does, in some cases reducing the music to the status of a calling card, it’s refreshing to come across a first time album by a veteran player who simply wants to “tell his story”.

The musician is Ottawa born saxophonist, Hugh O’Connor. At age 81 O’Conner, who began playing in the late 1940s, has just released his first CD. His approach is refreshingly melodic and he plays with an authority that says, “For me, here’s where it’s at.”

Recorded in the Almonte Ontario Old Town Hall, the CD consists of a programme of superior standards ranging from the seldom played A Portrait Of Jenny to the frequently performed My Funny Valentine on the opening chorus of which there is a Desmond-ish quality to the sound of his horn. But Hugh is definitely his own man and puts an individual stamp on this recording which also includes such great songs as In The Wee Small Hours, How About You and The More I See You.

He is ably and tastefully accompanied by pianist Mark Ferguson - yes the same Mark who used to be a trombone player in Toronto - bassist John Geggie and, on five of the twelve tracks, drummer Don Johnson.

Although active and successful, mainly around the Ottawa area, he has maintained a relatively low profile on the Canadian jazz scene. Perhaps that can change with the release of this very welcome CD.

More an enhancement than a replication of Quebec’s Festival International de Musique Actuelle de Victoriaville (FIMAV), Toronto’s VTO2010 festival cherry picks some of FIMAV’s international performers, presenting them with invited Canadian musicians. As these CDs indicate, the improvisers are impressive no matter the location or formation.

04_ShamanOne of the most anticipated concerts is the Six at the Music Gallery May 26. An all-star European ensemble, one of its distinguishing characteristic is the supportive synthesizer work of Köln’s Thomas Lehn. Close Up (MonotypeRec. mono024 www.monotyperec.com) demonstrates Lehn’s skills providing the underpinning for Bertrand Gauguet, a technically adroit French saxophonist, plus Viennese quarter-tone trumpeter Franz Hautzinger. As with the Six, electronics are part of this trio’s mix. So on Close Up’s three extended tracks blurry intonation encompasses loops of granulated tones mixed with rumbles and pulses from Lehn, air burbled through the body tube of Gauguet’s saxophones and tremolo buzzing from Hautzinger. Building up in sonic fervor through the intersection of synthesizer pitch shifting, distortion and flanging plus wide-bore whizzes and echoing patterns from the acoustic instruments, the CD climaxes with the over 26-minute Close Up 03. Cricket-like reed chirps and hand-muted brass vibrations are put aside for spectral processing which adds the affiliated extensions of most timbres as they sweep by staccato or glissandi. While the electronics’ wave forms undulate symmetrically, they also output enough percussive drones to subsume technical flaunting. The trumpeter’s braying bell-like reverb and the saxophonist’s feral animal-like squeals consequently meld with thumping synthesizer pedal-point expressions for a satisfying finale.

02_AndyMoorColin McLean’s computer processing is also prominent on Everything but the Beginning (Unsounds U17 www.unsounds.com). But so is the prowess of British guitarist Andy Moor, a member of the EX. In Toronto his Music Gallery performance – also on May 26 – is as part of a long-standing duo with French poetess Anne-James Chatton. On this CD, his technical command of the six-string is showcased with McLean’s hardware usually confined to patched rumbles and processed burbles and rebounds. Moor often uses the laptop undercurrent as a click track, linearly exposing single-string snaps, rough twangs or chuffed reverberations. His improvising can be playfully decorative, as when he seconds the sample of a squeak toy on Delta Block. In contrast on The Flower of fixed idea it appears that piezo pickups multiply his twangs so that the theme is pulsed, pushed and twisted into voltage-shaking signals.

03_zachAcoustic interaction is also featured on May 19, with the Dans Les Arbes quartet at the Music Gallery. Consisting of one French and three Norwegian musicians, it offers the same sort of extrasensory perception its percussionist Ingar Zach brings to Mural Nectars of Emergence (SOFA Records 528 www.sofamusic.no). Interestingly enough Zach’s “Mural”-mates, Australian flautist/saxophonist Jim Denley and guitarist Kim Myhr, are at FIMAV in a different configuration. Minimalist and atmospheric, the CD’s seven tracks are built up from pointillist dabs of sonic colors, soaking together without abrasion. That doesn’t mean the performance is modest, just unshowy. Zach for instance use wood pops, bowl scrapes, chiming bells and drum-skin rubs to make his points. Meantime Myhr’s guitar preparations allow him to produce hefty church-organ-like chords in some instances, loops of electrified signal-processed clangs elsewhere and constant harsh strumming. Throughout Denley’s masticated split tones propel his saxophone pitches to the patchy edge of hearing with strident wolf whistles, tongue slaps and subterranean growls, while there’s nothing delicate about his buzzing flute expositions. Flash Expansion is particularly noteworthy. With Myhr’s rhythmic rasgueado meeting up with amplified drum-top rubs and harsh reed reflux, the processed loops bring the narrative in-and-out-of-focus, with the sound menacing and motor-driven one minute, the next as weightless as waves lapping against the sea shore.

04_ShamanA weightier Canadian balance to the international sounds is the exclusive-to-VTO triple bill at the Tranzac club May 14. The Rent and Hat + Beard are locals, while Shaman from Montreal is also on hand. Consisting of Jean Derome and Joane Hétu on woodwinds, voices and objects Nous perçons les oreilles (Ambiances Magnétiques AM 200 CD www.actuellecd.com) exposes Shaman’s strategy of D-I-Y ethnomusicology. Like ancient tribal healers the duo expresses itself through verbal screams, squeaks, murmurs, mumbles and cries as well as inchoate instrumental textures. The two recount 12 short narratives which are as much Dada as primitive, wrapped in onomatopoeia that bonds mouth expressions such as cheers, yelps and gurgles with slide-whistle peeps, unsequenced altissimo saxophone stridency, key percussion, clipping chromatic timbres and reverberating body tube echoes.

Bassist John Geggie is based in Ottawa but has achieved much in jazz and other art forms nationwide. Two new additions to his huge discography are of gripping interest.

01_geggie_project_across_skyHis Geggie Trio + Donny McCaslin - Across The Sky (Plunge Records PR00632 www.plungerecords.com) particularly emphasizes his compositional skills, seven of the 14 tracks here his, the rest collaborative contributions from the foursome with pianist Nancy Walker, drummer Nick Fraser and saxman McCaslin. The album is zesty, tunefully inventive, stacked with shifting time signatures and superior, finessed work on the bass. This is top-grade contemporary jazz, McCaslin often straying outside the mainstream with dramatically engaging work that has a meaty individuality to match the forceful leader and Walker’s ability to make surprise connections and balance lyricism with toe-tapping passion. Quick-witted and poised, the group creates playful experimental music though it’s anchored by restless, absorbing imaginations.

02_geggie_projectWith Geggie Project (Ambiances Magnetiques AM 179 CD www.actuelle.com), Geggie is in more avant-jazz heavyweight mode, with spacey Marilyn Crispell on piano and Nick Fraser drumming. Again there are 14 tracks, seven spontaneous appetizers by the trio and seven entrees from the leader - you get the idea with Geggie’s pliant and expressive if sober opening Credo with bass predominant, haunting colours and suggestions of anguished subtext and then the trio’s mercurial Ice And Meltwater. The album teems with incredible invention. Run-Away Sheep shows off superb bass craft and hints at Fraser’s pyrotechnic tendencies before gate-crashing Crispell-fuelled chords arrive. The threesome covers a wide swath of stylistic territory with lofty flights of notes yet remains very accessible compared to free skronk mayhem. The music’s impish and erudite, keeping the peace between energy and atmosphere, sometimes luxuriant, sometimes wallowing in dark sonorities and overall more melodic than impassioned. Especially attractive are the trio’s Weather Forecast and the leader’s Canon.

03_alex_bellegardeA third recording led by a bassist is also a great buy. The CD/DVD package is the Alex Bellegarde Quintet’s Live (Chien Noir 09-999 www.alexbellegarde.com) with the boss in virtuoso form at a Montreal Maison de la culture Mercier concert. He wrote the 10 cuts, including some with a global jazz viewpoint and an elastic pulse that’s underlined with the presence of Kiko Osorio on congas. Bellegarde’s other comrades - pianist Yoel Diaz, alto saxist Erik Hove and drummer Yvon Plouffe – are almost his match in versatility, with many tunes featuring unison leads, lucid soloing and passages that vary from church calm to bucolic celebration. This band plays with impetus and conviction, aided by miraculously layered textures and a sensitive range of inflections, with Bellegarde’s bass a brilliantly crucial inner voice.

04_chet_doxasMontreal is the base, too, for another rising star whose bold new quartet CD should fly off record shelves. On tenor saxist Chet Doxas’ Big Sky (Justin Time JTR 8558-2 8558-2 www.justin-time.com) he has the support of a close-knit, sympathetic team - Ben Charest (guitar), Zack Lorber (bass) and brother Jim on drums. The leader penned six of the eight lengthy tunes and from the opening For Jim games swiftly begin with time, harmony and undulating narrative themes, which leader Doxas attacks with confident tones and a breadth of ideas in the manner of Chris Potter, with Charest effectively counterpointing all the way. There’s delicate treatment for L’Acadie, off-meter challenges and twisting lines outside the melody on Sideshow and a melancholic farewell to Jimmy Giuffre with Goodbye, all of interest, and outstanding work on the title piece, a homage to guitarist Bill Frisell.

05_gale_rodriguezMontreal supplies half the Gale/Rodrigues Group in B3 organist Vanessa Rodrigues and guitarist Mike Rud for the quartet’s debut release Live At The Rex (Indie CGVR01 www.vanessarodriguez.com), a potent package that also features Torontonians in saxophonist Chris Gale, and drummer Davide DiRenzo. Here’s a bustling session that exploits the famed tenor-organ combos of yesteryear with great aplomb with a pleasing mix of standards and hard-hitting originals. Players take long, often bruising solos, notably the versatile Gale on the opening Wes Montgomery’s Full House with Rud in fine comping form as well as constructing clean lines. The big-hearted ballad Statement gets a searching reflection from its composer Gale while throughout the more-grounded Rodrigues ratchets up tension when needed to the level of bristling exchanges. The co-leaders have fun on the happy honker One-Eyed Monster while elsewhere the room’s full of quick turns of phrase, fierce careening solos and runaway grooves, with timely relief on calmer pieces such as Bye Bye Blackbird.

The Django Reinhardt tribute band Croque Monsieur has won the Canadian Collectors Congress annual album–of-the-year award given out at the organization of vintage jazz lovers’ 39th gathering in Toronto. The winner beat out four other finalists - the Happy Pals, Ron Joseph and friends, Dinny and the All-Stars and Braithwaite & Whiteley.

03_wm_parkerAt Somewhere There
William Parker
Barnyard Records BR 0313

An almost hour-long solo recital may seem daunting, but New York bassist William Parker easily impresses, as this bravura invention recorded at a local performance space attests. Cathedral Wisdom Light, this CD’s over-48-minute showpiece, is animated by his nearly limitless technique which prods, pulses, pummels and propels polyphonic tones and textures from the four-strings and resonating wood of the bull fiddle.

Resolutely arco – although sporadic plucks sometimes parallel the bow movement – the tempo is never less than andante or more than allegro. Within these parameters Parker layers phrases, note clusters and unexpected vamps, chafing wood and splitting string tones as well as agitato stops and chunky sul tasto expansions into the multiphonic narrative. As the shuffle-bowed fantasia evolves, taunt, creaking and swabbed timbres distend so that these pressured strokes shudder with affiliated partials as well as fundamental notes. Sometimes displaying portamento finesse, at points Parker mercurially showcases split-second variants on reveille, parallel bebop vamps and even a minor variant on legato chamber music.

With every part of the instrument in use, including the belly, waist and the strings beneath the bridge, the bassist is able to craftily shift the tonal centre throughout, introducing novel harmonies and rubato asides to the ongoing improvisation. A final variant drives the chromatic performance to a mellower low-pitched climax, before replicating the exposition with shrill sawing.

Short addenda on dousin’gouni and double flute complete the program, but after Parker’s exceptional bass solo, these are somewhat akin to hearing Glenn Gould’s harpsichord recording.

02_ellington_queenieDuke Ellington’s Queenie Pie
Carmen Bradford; University of Texas Jazz Orchestra; Huston-Tillotson
University Concert Choir
Longhorn Music LHM2010003

Originally envisioned as a television production, Queenie Pie was a work in progress at the time of Duke Ellington’s death in 1974. There were only lead sheets, lyrics and basic harmonic outlines to work from and the resulting arrangements were created in the style of Ellington, not by the master himself. The music does indeed capture the Ellington sound and at times even uses musical quotations from the Duke’s library. For example, the Duke’s intro for Such Sweet Thunder shows up in the middle of track 12, Commercial Medley. In this 2009 production from the Butler School of Music the orchestra plays extremely well throughout, but in the solo department one can’t help but wish for the warmth of a Hodges or the authority of a Jimmy Hamilton.

The principal vocalist on the CD is Carmen Bradford who has had a distinguished career. She was a feature of the Basie band for several years and has since worked with a very substantial list of great performers ranging from George Benson to the Lincoln Center Jazz Orchestra.

I did find myself making comparisons with Duke’s A Drum Is A Woman which of course had the advantage of being genuine Ellington. It also had clever lyrics, some catchy melodies, although less than memorable, but there is no denying that the posthumous construction of Queenie Pie is indeed an ambitious project and worthy of a listen.

01_holland_octetPathways
Dave Holland Octet
Dare 2 Records DR2-004

For some years I’ve labelled groups led by the great British-born, American-based composing bassist David Holland as the world’s best jazz band. There’s no need to alter this judgment after hearing his newest album, his first employing an octet.

Recorded at New York’s Birdland club, it’s vintage Holland - fierce soloing, crisply-clean ensembles crammed with multi-layered ideas and irresistible momentum on seven long tracks, five penned by the leader.

To his stellar regular quintet (imaginative tenor Chris Potter, pioneering trombonist Robin Eubanks, delicate vibraphonist Steve Nelson and relentless drummer Nate Smith) he’s added more saxes - alto Antonio Hart, baritone Gary Smulyan - and trumpeter Alex Sipiagin. The result is a combo that demonstrates exceptional playing skill and can sound like a roaring big band or an intimate small unit.

The excitement level is established early, with Smulyan’s deep sounds careering through the opening title piece before the leader takes a bounding, tension-filled solo and the mood’s maintained as an older Holland tune, How’s Never, is tackled. Some relief from the up-tempo charge comes on the Holland song Blue Jean with Smulyan and Sipiagin prominent. All the bandsmen solo, though Nelson’s vibes are unfortunately only remotely present except on the wonderful Holland oldie Shadow Dance, but overall the sidemen are never at a loss for stimulating notions.

Holland’s been around, playing with Miles Davis in Bitches Brew days, but soon leading his own teams and trying out solo albums of acoustic bass and cello. He has the knack of generating arresting, thought-provoking music with emotional impact and remains unfailingly interesting. Let’s hope Canadian jazz festivals snatch him up this summer.

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.

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