Pot Pourri

Jaya
Raagaverse
Rhea Records (raagaverse.bandcamp.com/album/jaya)

I have the pleasure of reviewing two albums from Canada’s West Coast this month, and it’s always a treat as a Toronto-based writer to explore the musical happenings elsewhere in the country. Jaya is an exciting debut album from Vancouver collective Raagaverse, led by its vocalist Shruti Ramani. Admittedly Ramani was the member of the group I was least familiar with prior to exploring this recording, but her reputation precedes her in contemporary musical circles nation-wide. 

Jaya’s album design alludes to the Indian origins of its contents, eschewing the often-drab layouts and artwork that enclose many Canadian jazz discs. Rhea Records features artists from the jazz/improvised music realm, and while Raagaverse’s core quartet instrumentation might be right at home performing originals and standards, this album uniquely evades categorization. 

Pianist Noah Franche-Nolan and drummer Nick Bracewell have recently become common names in Vancouver’s creative music scene, and they bring both youthful energy and mature restraint to their playing in Raagaverse. Jodi Proznick is a coveted bassist locally and internationally who shines throughout this album, notably with an energetic solo on Parindey. Ramani’s use of Indian syllables when improvising was of particular interest to me, offering a unique approach compared to wordless vocalising. 

There was an “Indo-Jazz” trend some years ago that led to interesting music at its best, and some strange appropriation when less successful. Raagaverse manages to enter this domain in the most organic and exciting way possible, while simultaneously existing in a realm of its own divorced from labelling. If you’re a fan of jazz, Indian music, contemporary improvisation or all of the above, I highly recommend Jaya. And even if you’re not inclined in any of those directions, I expect you’ll still find a favourite track or two.

Kyiv Soul
Nastasia Y
Lula World Records (nastasiay.com)

Innovative vocalist/keyboardist/creator Nastasia Y has just released a dynamic and thought-provoking recording which has been informed by her remarkable journey… growing up in Kyiv while being surrounded by her late activist father’s folk songs, to eventually joining the global indie jazz coterie of Toronto’s explosive world music/independent music scene. Nastasia’s potent material is really a fusion of folk songs, or as Nastasia says “Ukrainian Blues,” with a liberal dash of jazz and funk. On this unique project, she has assembled a gifted complement, while celebrating the proud legacy of resistance and Ukrainian patriotism of her late, heroic father, Kost’ Yerofeyev. The recording also explores the depths of Slavic ancestral magic and the incredible fortitude and bravery of the Ukrainian resistance, as well as the nature of war and the nature of love. 

The repertoire here has all been composed/adapted by Nastasia, including Salgir River, a traditional Crimean song of the nearly obliterated Tatar people, re-imagined with ancient, powerful and stirring vocals and face-melting contiguous guitar/synth lines. A true stand-out is Kupalo, a contemporary twist on the mystical Ukrainian summer solstice celebration and a fine guitar solo by KC Roberts is the icing on the pagan cake!! 

Also superb is the Carpathian ballad, Pod Oblachkom, which dives deep into the nature of infatuation. Nastasia’s crystalline, pitch pure soprano inveigles the listener into the magical, mysterious depths of passion. And the incendiary closer, Bez Vas, is a contemporary Ukrainian power ballad, not only embracing President Zelenskyy’s vision, but musically highlighting the eternal cultural identity of Ukrainians and of their sovereign nation.

Recuerdo
Amanda Martinez
Independent (amandamartinez.ca)

With the release of her fifth recording, dynamic Latina vocalist/composer Amanda Martinez has presented a programme of original compositions and collaborations that is rife with ideas, instrumental skill and deft arrangements,all embraced by her sumptuous vocals. Martinez has also assembled a stellar complement here, comprised of fine musicians and composers, including trumpeter Alexander Brown; Osvaldo Rodriguez on violin and piano; producer Kevin Laliberte on guitar, keyboards, drum and bass programming; co-producer Drew Birston on acoustic and electric bass, ukelele, accordion and piano and Rosendo “Chendy” Leon on drums, percussion and back-up vocals. Additional featured vocalists include Aviva Chernick, Donne Roberts and guitarist Waleed Abdulhamid.

Every track here is an inspired work of art, but must-listens include the stunning title song, Recuerdo (I Remember), which was written by Martinez and Laliberte in honour of her late father – a fearless man, filled with optimism and a zest for life and music. No te vayas (Don’t Go) was penned by Martinez, Chernick and Birston and brilliantly interweaves Hebrew and Spanish lyrics in this sumptuous ballad about the complex emotions of having to say the final good-bye to our ailing, much adored fathers.

Of special beauty is Sol de ayer (Martinez/Rosales), which features Birston on accordion and Laliberte on luminous guitar. The moving closer, Nostalgia, presents Martinez at her most evocative, while the magic of Laliberte’s guitar supports and embraces her gorgeous vocal interpretation of this deeply emotional exploration of love and loss.

Island Hopping
Gabriel Evan Orchestra
Independent n/a (gabrielevanorchestra.bandcamp.com/album/island-hopping)

This is New York saxophonist Gabriel Evan’s third album and continues his investigation of delightfully retro genres from the context of Caribbean jazz. When I first heard Island Hopping it brought to mind Earl Bostic, the American alto sax player who played a combination of jazz, swing and jump blues from the 30s to the 60s. Evan’s primary instrument is soprano saxophone and his “orchestra” has Charlie Halloran on trombone, Josh Dunn (guitar), Kris Tokarski (piano) Pete Olynciw (upright bass) and Jafet Perez (drums and percussion). All the tunes are lively and delightful and many date from the 30s (such as Carmencita, a classic Lionel Belasco waltz) while two are Evan’s originals. In the latter group, Boychick Calypso is a playful shuffle full of sophisticated energy and delightfully melodic solos while Habana Hammock is gently relaxing as its name suggests. Island Hopping’s upbeat swing is infectious throughout and you cannot help but smile from beginning to end.