Pot Pourri

Vessel
Gamelan Pacifica
Independent 002 (gamelanpacifica.org)

Led by composer Jarrad Powell, for over 40 years Seattle’s Gamelan Pacifica has been one of the few ensembles specializing in the intersection of Southcentral Javanese gamelan and international experimental music. Its new release Vessel extends that approach in new directions, bookended by two works by group musician and composer Stephen Fandrich. Laras Chopin and Difference both evoke a sound world of electronic clusters, or perhaps of bowed glass bowls, supported by occasional powerful bass tones. Yet Fandrich creates that soundscape using mostly acoustic sounds coaxed from bowed metal gamelan instruments, deep gongs, and a piano played with an electromagnetic bow. The effect is magical.

Fandrich’s Iron Tears explores regions between the Western harmonies rendered by the Del Sol string quartet and indigenous gamelan tunings. They’re allowed to interweave for 12 minutes before cadencing in a surprising A Major chord. 

Powell’s Tsuki features the brilliant Javanese-inflected singing by Jessika Kenney of an English text by Zen Master Doĝen urging us toward direct experience, the path to spiritual awakening. In her challenging work Scar, composer Kenney aims to “unlearn Javanese vocal timbres and melodic patterns without relearning centering whiteness.” She explains the work is a “prayer which intends to reject the violence of white imperial privilege, and also to unlearn [the] Javanese vocal tradition” in which she is so fluent.

Finally, Ketawang Panembah by Darsono Hadirahardjo features an emotional rebab (2-string bowed lute) solo masterfully played by Jesse Snyder. Originally meant to evoke a prayer for divine blessing, this moving music – and much of the album – reminds us of the healing power of music in dark times.

Shanties! Live
La Nef; Chor Leoni
Leaf Music NEF0003 (chorleoni.org/product/shanties-live/)

There could be nothing more eminently singable and danceable than sea shanties – those apparently unforgettable work songs from the 19th century. Fortuitously – perhaps even providentially – proud Canadians (particularly of the Scottish diaspora) continue to keep the cultural flame of the shanty alive. There is much to choose from; shanties – creations of the peripatetic merchant mariner – grew out of the French “chanter” fused into boisterous barn-dancing songs, merrily sung by British mariners into a pint of lager across the ocean to North America. Many have made it to this outstanding live recording. 

Two celebrated traditional music groups – Montreal’s La Nef and Vancouver’s Juno-nominated Chor Leoni, came together for a one-night-only performance of brand new arrangements of these work songs on the resplendent Shanties! Live. It would be a minor travesty to suggest that all praise for this performance accrues to members of La Nef, albeit the fact that the ensemble’s fame is owed to their iconic soundtrack for Ubisoft’s Assassin’s Creed video game. The participation of the iconic Chor Leoni has – together with arrangements by Seán Dagher and the Chor directed by Erick Lichte – turned this rare collaboration into something truly special. 

Rip-roaring shanties such as Haul on the Bowline and the stomach-churning Stormalong John provide thrill-a-minute excitement. Meanwhile the profound beauty of Lowlands Away, Shallow Brown and Le 31 du mois d’août, and the sublime fidelity of the recording make this classic sea shanties disc truly spectacular.

Listen to 'Shanties! Live' Now in the Listening Room

Three Corners
Hypnosis Negative
(instagram.com/hypnosis.negative)

Hypnosis Negative is a collaboration between Canadian Robert Alan Mackie (violin) and Estonian Katariina Tirmaste (flute, jawharp). The duo explores the roots of dance in their modern original interpretations of international and traditional repetitive dance music with inherent trance-like “hypnotic” listening and movement qualities.  

The ten-track debut release includes their modern renditions of some Estonian dance tunes they found in folk music archives, which I appreciate as a Canadian musician of Estonian parents. The first track – Hi (Mardi Tandi Polka), and  last track – Bye (Kuldimuna Lõikaja) – are each under 50 seconds, opening and closing the release with two shorter version repetitive rhythmic and melodic Estonian polka interpretations. Track 2, Buffalo Gals, (Kuldimuna Lõikaja), from the “common repertoire” Estonia, is its longer version. This upbeat rendition has many melodic repetitions with flute harmonies, quasi atonality and a waltz midstream, with a legato violin countermelody to an abrupt “time to stop dancing” accented ending. Guest percussionist is Juan de la Fuente Alcón. His subtle background beats in the calming waltz Sõrmõlugu from Estonian Jaan Palu’s repertoire, support high-pitched flute, violin held notes and astoundingly tight lyrical unison instrumental passages. Three southeastern United States square dance interpretations show a surprising traditional folk-dance similarity to them. There are Spanish cultural flavours with tight violin and flute playing over percussion grooves in the more contemporary sounding Cantiga 181 by Alfonso X El Sabio.

Hypnosis Negative is creating a brilliant traditional music future here, both on and off the dance floor!

Listen to 'Three Corners' Now in the Listening Room

Confluence – Balkan Dances and Tango Neuvo
Zachary Carrettin; Mina Gajić
Sono Luminus DSL-92256 (sonoluminus.com/store/confluence)

Confluence marks the second release for the acclaimed Sono Luminus label by husband-and-wife duo, pianist Mina Gajić and violinist Zachary Carrettin. The pairing of Marko Tajčević’s folky Balkan Dances with the contemporary tangos by Ray Granlund may seem risky at first glance but it works very well and is a reflection of the cultural influences that are meaningful to these two performers. Here we have a flowing together, a merging of two different compositional languages, coming from regions that are geographically distanced but complementary with their distinct rhythmicity and melodic flavour. 

The selected tangos were written for Carrettin and it is obvious how much he enjoys playing them. The passion and lyricism, mixed together in both the writing and interpretation, are truly engaging. Granlund leaves room for improvisation and plenty of interpretative choices, and Carrettin thrives on the explorative freedom the tangos are providing. His sound is mellow and intense at the same time, as if he is daring us to get up and join him in dance. 

Tajčević’s Balkan Dances, written for solo piano, are not as exuberant but they have an absolutely relentless rhythmical drive, reminiscent of Bartók, and the melos and sturdiness of Balkan music. Gajić brings the percussiveness to the forefront and she does it with both grace and conviction. TangoNometria, one of the pieces on the album, easily links all the aspects of the music and performances on display here – ever-shifting rhythms, visceral melodies and thrilling interpretations.

Listen to 'Confluence' Now in the Listening Room