09 SquaremealA Square Meal
Atrito-Afeito
Atrito-Afeito 007 (atrito-afeito.com)

As the equivalent of topping gooey Québécois poutine with piquant Portuguese sausage, this square meal is hard-edged and free-form, combining the talents of Montrealers, pianist Karoline Leblanc and drummer Paul J. Ferreira Lopes with Lisbon residents, trumpeter Luís Vicente and Hugo Antunes. Throughout, the quartet members function as master chefs for whom cooking Iberian-Canadian fare is commonplace.

With A Square Meal’s flavoursome main courses, spiky extended feasts, and sonic appetizers and desserts of the same quality, the tracks are spiced with slick piano glissandi, sifted trumpet whinnies, rounded double-bass plops and drums hammered with the efficiency of a meat tenderizer. Although infused with extended techniques, these splintered and kinetic courses also have a base of rib-sticking home cooking, since melodic slices are present throughout. Leblanc, for instance, may appear to be cramming too many notes into a tremolo outpouring, but like a seasoned cook that output fits succulently. The quartet’s replication of agile line cooking is most apparent on the 23-minute Creature Comforts. Open-ended with welcoming piano chords and a languid shuffle beat from the drummer, the narrative is swiftly shaded and sharpened with aggressive, double-tongued brass rasps, paced by string crackles from the bassist and active drum smacks. Just when it appears that Vicente can’t slur any more dissonant tones from his instrument, Leblanc’s steady comping pushes the trumpeter to mid-range blowing and joins him to return to the near-romantic theme of the beginning. A Square Meal may be unusual fare, but it’s undoubtedly musically nourishing.

01 Woman sCD006Marketing considerations aside, how best can a musician mark an important milestone or significant creativity? With recorded music the result is usually multiple discs. In honor of French bassist Joëlle Léandre’s recent 60th birthday for instance, there’s A Woman’s Work … (NotTwo MW950-2 notwo.com), an eight-disc boxed set. Almost six hours of music, the 42 tracks were recorded between 2005 and 2016, comprising one solo disc and the rest intense interaction with such associates as trumpeter Jean-Luc Cappozzo, tenor saxophonist Evan Parker, violist Mat Maneri, guitarist Fred Frith, percussionist Zlatko Kaučič, pianists Agustí Fernández or Irène Schweizer and vocalists Lauren Newton or Maggie Nicols. With improvisers from six different countries working alongside, the bassist’s charm, humor, vigour and adaptability are highlighted.

Solo on CD 6 from 2005, Léandre’s improvisations are as mesmerizing as they are mystifying. Consisting of bow slaps resonating with woody ballast, her circular attack is solipsistic enough to confirm its singularity, but so alive with twists that she sometimes seems pleasantly taken aback by what’s produced. As she plucks or saws her strings, at points she could be two bull fiddlers working in counterpoint. The climax is reached on the final track when, like a marathoner getting an energy boost, she extends still further, working some romantic beauty into her arco splays, while at the same time mocking it with vocalizing ranging from guttural growls to bel-canto gurgles. As unlike as a chocolate chip sundae and a tofu pudding, the bassist’s two 2016 vocal duets are equally valid. Eight performances with the American Newton on CD3 are the most traditional. With silky voice, the singer hopscotches among scat, lullabies, octave jumps and keening cries, as Léandre’s mischievous side appears. Besides sharpened slices that create spiccato echoes, she verbalizes an ironic obbligato to Newton’s singing. Under her breath, Léandre bawls out unexpected noises that are sly without being disruptive. Léandre, the Swiss Schweizer and the Scot Nicols have been Les Diaboliques for more than 25 years, and their performance on CD1 is cohesive, since Léandre’s disruptive tendencies can’t dominate when the others are textural dissectors as well. The showdown is mostly Léandre-Nicols, with the bull fiddler mumbling and projecting mercurial string buzzes as a divergent sideshow to the vocalist. More stream of consciousness than self-involved, Nicols could be playing all parts in a radio play, encompassing crone cackling, infant cries, feline purrs and canine yelps. Sliding from brouhaha to babble, she opens up the performance enough for instrumental virtuosity to make her vocal gymnastics stand out. More concentrated levels of instrumental dexterity are the main thrusts of Léandre’s 2011 meeting with Maneri on CD2; her match-up with Frith in 2016 on CD5; her 2015 tête-à-tête with Cappozzo (CD4); and the meeting of minds with Kaučič from 2015 (CDs 7 and 8). Frith’s alt-rock background makes that duo the most distinctive, if not the most frustrating. Committed to knob twisting, Frith sashays among rock, country and outer-space-like tones. Léandre’s acoustically dynamic thrusts almost dare him to use his mechanized equipment to gain the upper hand, then volley back any pattern he emits. More simpatico, Maneri’s mastery of the viola means that both he and the bassist can challenge one other while emphasizing the woodiness of their instruments. The result coordinates improvisational freedom, pre-modern string shading, and 20th-century aleatory patterns. So relaxed that he almost limits his contributions to cymbals, Kaučič’s dances a pas de deux with the bassist, matching her mercurial stops and inventive guitar-like twangs with bell-like resonation plus supple metal slides. From that same date, when Fernández and Parker join the drummer and bassist, jazz-oriented intersections are glimpsed, palimpsest-like, along with free improvisation. The saxophonist builds up to a staccato narrative, which Léandre hurries along with tremolo buzzes and arco strokes. Fernández’s piano pressure is so dense that he could be playing boogie-woogie. Illuminatingly, Léandre’s most satisfied improvising is alongside Cappozzo. With jazz-like allusions, the warmth communicated by intertwining brass and string textures allows the two to switch forefront and backing roles from one to the other without breaches, making room for Arcadian and ambulatory motions. Outputting chromatic expositions in graceful arcs, Cappozzo’s self-possessed playing calms the bassist’s frenetic instrumental and verbal asides, creating a cumulative sound that is profound and polished.

02a TitanCD021Brazilian tenor saxophonist Ivo Perelman takes a different route. If Léandre has built a single dwelling, Perelman is more like a developer putting different styles of edifices in designated areas. With frenetic bites of Free Jazz extravagance, Perelman presents his rhapsodic interface with American pianist Matthew Shipp in seven volumes titled The Art of Perelman-Shipp (leorecords.com),Vol. 1 – Titan (CD LR 794); Vol. 2 – Tarvos (CD LR 795); Vol. 3 – Pandora (CD LR 796); Vol. 4 – Hyperion (CD LR 797); Vol. 5 – Rhea (CD LR 798); Vol. 6 – Saturn (CD LR 786) and Vol. 7– Dione (CD LR 799). Only Saturn is a duo, with the others featuring the two plus, on different discs, bassists William Parker or Michael Bisio, and drummers Andrew Cyrille, Bobby Kapp or Whit Dickey.

02b TarvosCD007To get a handle on the Perelman-Shipp discs recorded between August and November 2016, first consider Saturn. The result of more than 20 years of musical cross-fertilization, the untitled improvisations show the duo’s comfort level, with Perelman at times eschewing his usual altissimo ladder-climbing for a breathy tone and burlesquing avant-garde solemnity by shoehorning a quote from Heart and Soul into his solo on track one. While the reedist’s unique mixture of whining split tones, intense triple tonguing and theatricality at the climax stays intact, it’s framed by whimsical comping from Shipp, which calmly advances while showcasing skills like suddenly pedalling into the piano’s darker regions or maintaining a steadying pace, as Perelman wrings every extension from each reed outburst. Titan, which adds Parker to the duo and Hyperion, where Bisio completes the trio, feature similar communication, since Bisio is part of the pianist’s band, while Parker and Shipp are longtime collaborators. Parker creates a percussive undertow that expands the saxophonist’s expression, as he follows him through pitch variations and unexpected quickening and decelerating of the narratives. Vigour distinguishes the nearly 20-minute final track as Parker’s vibrant arco pumping surrounds the others’ explorations. 02c PandoraCD004At times Shipp creates a stream of high-frequency key-clipping in tandem with Perelman’s overt overblowing, while elsewhere the saxophonist and bassist bond, allowing each pattern suggested by one to be completed and improved on by the other. If Parker’s work is the stuff of high drama, then Bisio’s style is playful enough to be sitcom-ready. The bassist’s peppy interface is used in a connective fashion, though he also steps forward with tonal variations. His bowing on Part 8 adds to tremolo piano lines and high reed pitches to cement a moderate and mystical theme, while his pizzicato sluices on Part 9 push the action along so that the saxophonist’s squeals resemble cowboy yodels.

02d HyperionCD022Cyrille on Dione and Kapp on Tarvos possess contrasting drum philosophies. Cyrille brings a staccato drive to his accompaniment, where unruffled, positioned beats unite the others’ emotional excesses into a logical narrative. This is obvious on Part 6 when beside jerky piano runs, intermittent percussion clip-clops push reed squeaks from altissimo to moderato. On Part 8, the drummer’s motivating shuffle is such that what begins as a keyboard gallop turns to straight-ahead swing, with even the saxophonist’s tone balladic. Hard-toned and sharp where Cyrille is restrained, Kapp is upfront with his crackling strategies as early as Tarvos’ first track. By the final tune, his textural prodding, encompassing bass drum chopping and cymbal reverb, creates a situation swinging enough to make Shipp’s keyboard-blurring cross tones and Perelman’s peeps and dribbling smears bond animatedly.

02e RheaCD020Culmination of this musical equivalent of Lawrence Durrell’s The Alexandria Quartet, where situations change shadings depending on the book, are Pandora and Rhea. Dickey makes a quartet with Perelman, Shipp and Parker on the first disc and with Perelman-Shipp-Bisio on the second. The Parker-Dickey team helps maintain the tumultuous level of action that is Perelman-Shipp’s specialty. This framing on tunes like Track 6 means that Perelman’s consistent altissimo exploration and narrowing yelps fit perfectly. He even shoves a lick from Cherokee into his descending slurs. Freed from the rhythmic function, Shipp has space to indulge in impressionistic reprises, as on Track 3 where the reedist’s exposition spends more time in lower-case description than showy tongue smears. Rhea’s tracks intersect even more notably. 02f SaturnCD006At over 16 minutes in length, the first track could be a suite in itself. Backed by double bass thumps and the pianist’s tempo-defining runs, Perelman’s introduction is thematic and descriptive. He recaps the head with elevated power in the final sequence atop an assembly line of drum accents.

02g DioneCD005Projects like these are reminiscent of the fact that whether you buy chocolates by the box or individually you can only savour one at a time. For maximum appreciation, this parsimony in consumption should be applied to both the boxed set and the CD series. 

01 Quinsin NachoffQuinsin Nachoff’s Ethereal Trio
Quinsin Nachoff; Mark Helias; Dan Weiss
Whirlwind Recordings WR4706 (quinsin.com)

Toronto-born New York resident Quinsin Nachoff has created several projects in which interests in jazz and formal composition overlap, from the harmonic complexity of his Flux to the strings of his Horizons Ensemble. The Ethereal Trio, a more improvisation-oriented group that matches Nachoff’s tenor saxophone with the very distinguished bass work of the veteran Mark Helias (who will perform a solo set at the Guelph Jazz Festival on September 17 at noon) and the propulsive, creative drumming of Dan Weiss, arose from a project with the Penderecki String Quartet that combined the quartet with a jazz trio, encouraging Nachoff to pursue this bare-bones format further.

Without a chordal instrument, the trio’s emphasis is rhythmic and melodic with a keen sense of structural interactivity between Nachoff’s compositions and the group’s relatively free improvisations. While Nachoff’s patterns tend more to the serial than the triadic, there’s a certain kinship to the great early trios of saxophonist Sonny Rollins, with an acute rhythmic awareness among the three partners as they shift accents and bounce phrases off one another’s lines. It’s strongest on the hard-edged Subliminal Circularity, but it arises as well in the layered rhythms of Push-Pull Topology. Nachoff’s fondness for traditional string textures is supported here by Helias’ fine arco work, especially on the lyrical Gravitas.

The trio is loose without being casual, at once taut and free, and the consistent quality of detailed interplay and invention brings Nachoff’s forceful, inventive tenor playing to the fore. It may be his most satisfying recording to date.

03 Alex GoodmanSecond Act
Alex Goodman
Lyte Records LR040 (lyterecords.com)

It seems that for much of Second Act, Alex Goodman maintains a sort of spectral presence as a guitarist, shadowing the pianist Eden Ladin or saxophonist and EWI player Matt Marantz with liquid single-note lines, creating contrapuntal tête-à-têtes with them. But in each song Goodman does emerge briefly to punch the clock with short, stabbing solos that might end – as with Marantz’s saxophone in Heightened – in a kind of knotted entanglement with the melody before all but disappearing into the shadows of the music again. This, of course, puts the focus back on the compositional ability of Goodman and how his sinuous music sounds when played in an ensemble setting.

It’s also refreshing when a disc turns up that hearkens back to unfettered swing the way Second Act does. In a sense it feels like listening to big band music without the large ensemble. This quintet is also augmented by the incredible vocalists Felicity Williams and Alex Samaras. Together the ensemble sounds big even as it loses flutes and strings. This keeps the superbly economical melodies swinging and staying in shape through the spare, yet enhanced aural palettes of guitar, piano, saxophone and voice. The breathless fluttering of guitar on The First Break, tumbling cascades of piano in Losing Cool and burbling warmth of the saxophone on Acrobat all make for high art and high entertainment. And when the two meet – as they do in Second Act – memorability is assured.

04 Fran JareCopy Cat Coo Coo
Fran Jaré
Superfran Records FJ0157

Fran Jaré wears a number of hats on her new recording – producer, pianist, organist, composer and vocalist. Having made strong inroads into the genres of R&B, pop and rock (notably as the lead vocalist for the popular Vancouver ensemble Soultrax), Jaré has journeyed back into jazz with some very (dare I say it?) groovy results. The tight, cool and satisfying ensemble is bound together not only by talent and love of music, but also by a jazz-pedigreed gene pool (the executive producer is Jaré’s husband, Brian Disterheft, and features both her JUNO-winning bassist daughter, Brandi Disterheft, and her Grammy-winning sister, Angie Jaree). Additional JUNO-winning instrumentalists include Olaf DeShield on guitar and electric bass, Tom Keenlyside on sax and flute, Buff Allen on drums, Brad Turner on trumpet and also famed percussionist Portinho.

The well-chosen material is primarily a mash-up of Jaré’s original compositions, written over a period of time and culled from previous recordings and musical situations – including Soultrax and incarnations of the Fran Jaré Trio/Quartet/Quintet. A deep bow to the incredible Stevie Wonder is also included with Jaré’s slow, smooth and funky take on I Wish. She also pays tribute to the late great, Oliver Nelson with the buoyant Step Right Up. The title track is an infectious, soulful romp, perfectly underscored and punctuated by Jaré’s considerable organ/piano chops and the fine soloing and ensemble playing.

On Yeah! Together Again, Jaré’s smokey vocal sound brings to mind Joe Stafford and Julie London in perfect synthesis with Jaré’s own sensual, unique, film noir-infused voice. Her charming scat singing is not only completely musical, but delivered with joy and accuracy. A fine recording!

05 Paul NewmanMusic for Solo Tenor Saxophone
Paul Newman
Somewhere There (paulnewman1.bandcamp.com)

Local musician/composer Paul Newman performs his tasteful, thoughtful compositions with care, musicality and colour here. Both works are three tracks each, and explore sound quality, phrasing and mostly gentle melodic movement using contemporary musical tools.

Full Circle is immediately attention-grabbing with its opening lengthy bent tones alternating with long silent spaces, allowing the listener time to reflect on the sound. The work leads to a steady almost slow walking pace with clear tones magically performed. The slightly faster second movement takes on a two-instrument conversational feel between high and low tones. The atonal sound of the third section features faster interval leaps and extended technique. Excitement builds with the short staccato repeated notes and melodies ending with minimalistic flavoured long tones.

In As Long As We Remain (for Ken Aldcroft and Braz King), Newman illustrates more of his contemporary, experimental musical side. The work also opens with longer lyrical notes and phrases, leading to a section of high and low tricky pitch jumps. Especially exciting is the final movement. Fluctuating colours, timbres and similar jumps make for a more atonal listening adventure, ending with a glorious, loooong held tone.

This solo music experience is so gratifying due to Newman’s confident compositional and performance virtuosity, along with a clear production that captures all his musical subtleties. This is brilliant reflective experimental music driving along a mainstream highway of sound.

06 Ugly BeautyUgly Beauty
Kadi Vija; Lucas Dann
Texicalli

Kadi Vija and Lucas Dann – a Finnish musician who calls herself a “vocal instrumentalist” and a Canadian pianist of considerable pedigree – might seem like strange bedfellows but in the music of Thelonious Monk on Ugly Beauty, the very oddness of the partnership gives the album’s title a distinctly Monkish meaning. The album takes its name from the only waltz among Monk’s compositions and it is appropriately kicked off by a relatively rarely played Gallop’s Gallop, which, in turn, establishes the extraordinary relationship between these two musicians. For from the very first bars it becomes clear that something astonishingly brilliant is happening here.

Both Vija and Dann ignite Monk’s music operating as a partnership of equals, not as vocalist and piano accompanist. Their relationship recalls the enduring one between Monk and his ubiquitous tenor saxophonist, Charlie Rouse, lending credence to Vija’s “vocal instrumentalist” persona. In fact, the vocalist melds Rouse in with gorgeous echoes of the great American vocal gymnast, Lauren Newton, who shone with the iconic Vienna Art Orchestra. Meanwhile Dann negotiates the music with magnificent control of fingerwork in these most densely textured and substantially road-tested songs, keeping it close to Monk while managing to ring in the changes. Consider the two wondrous takes on Bemsha Swing.

The haunting compositions supply this duo’s usual range of ear-worm music – dancing melodies, chopped rhythms and gorgeous harmonies – with the added element of unusual textures.

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