Pot Pourri

When I Arrived You Were Already There
Aviva Chernick
Independent AVGC-002
avivachernick.bandcamp.com

This is the solo CD debut for Aviva Chernick, who also performs as lead singer of the JUNO-nominated group Jaffa Road. Jaffa Road, like many of the other groups she performs with, explores a wide variety of world music. This recording reflects her work leading devotional music in the Jewish community, including at a number of Toronto’s temples and synagogues.

Her melodies on English and Hebrew texts are presented in a lovely, simple and accessible chant-like style. They transport the listener with a meditative and transcendent character, while the accompanying musicians on a number of exotic instruments provide more intricate and varied textures elegantly lending elements of rock, jazz and world fusion. One of the songs, Chadesh yameinu, borrows its melody with a tip of the hat to the Indian-Persian duo Ghazal.

Aviva maintains a forthright manner and purity of tone in her vocal style, as do her many notable guest singers. The relationships of breath/spirit, creativity/divinity, nature/renewal, family and community are explored on many levels in this deeply heartfelt and personal offering. The title When I Arrived You Were Already Thereis an invitation to the listener to look deeply within and return to peace.

Advice from a Misguided Man
Colin Maier
Independent CMCD001
www.colinmaier.com

Colin Maier is far from misguided as an artist. He is comfortable in a wide range of musical styles as is clearly evident for listeners familiar with his work as the oboist for Quartetto Gelato. In this solo project, Maier is joined by a number of special guests in an eclectic collection of music.

Maier, with pianist Allison Wiebe, is sensitive and articulate in Saint-Saëns’ Oboe Sonata. Musical puns abound in Pasculli’s take on Donizetti operas, with accordionist Alex Sevastian providing a solid accompaniment. The traditional The Pipes is arranged by Maier and Mark Camilleri for small ensemble with oboe providing a convincing bagpipe timbre. Maier creates the ambiance in his steady long tones. Rousing versions of Hilario Durán’s Song for Magdalena and the oboist’s composition Bakon showcase Maier’s ample Latin chops. Based on two contrasting Canadian folk songs, Aura Pon’s lyrical Songs of the North Woods, No.1 is simultaneously soothing and dramatic. The idiosyncratic collection of short “songs” by the composer Rebecca Pellett and lyricist Liza McLellan (Gelato’s cellist) are dispersed as tracks throughout. Everything from new music to poetry to dramatic melodies, the songs are unique twists in sound and attitude. There is nothing bland here.

Colin Maier is a multi-talented musician who plays oboe with a gorgeous tone and superimposes his sense of seriousness and humour into all he performs. You would be misguided not to listen to this release.

Tambanavo (Dance With Them)
Zhambai Trio
Independent n/a
www.zhambai.com

The exhilarating debut CD by the Vancouver group Zhambai Trio showcases both the traditional music of the Shona culture of Zimbabwe and that of its transplanted son, Kurai Blessing Mubaiwa, the group’s leader. Mubaiwa is not only an outstanding mbira dza vadzimu (“thumb piano”), marimba, ngoma (hand drum) and hosho (maraca) player; he is an eloquent and powerful singer as well.

Joined by Canadians, world drummer extraordinaire Curtis Andrews and dancer-percussionist Navaro Franco, the Zhambai Trio’s music is deeply steeped in the traditional mbira music of Zimbabwe. The musical form is typically cyclic, while also marked throughout by evolving, interlocking, dual instrument variations. Characteristic vocal solos and choral responses are usually sung over the continuous instrumental patterns, which in the case of Chinzvenga Mutsvairo, builds into a very satisfying, densely woven, polyphonic texture. That and other tracks remind us how closely identified with the essence of music-making the voice is in much of West Africa. The expressive voices, so prominent on this CD, make a compelling case as the real stars here, despite the evident “rightness” and even virtuosity of much of the instrumental playing.

The online notes refer to the “trance-y” nature of the performance in its homeland. Traditionally sought after in Shona ceremonies, trance states are used to communicate with ancestor spirits and to offer insights to problems of community members. The lyrics on this CD however offer less dramatic, reassuring advice to youth, “you can also do what your elders can” (Chipundura). Another song urges people to get along with their grandmothers, who they rely on for comfort and warmth (Dangurangu).

While the Zhambai Trio was formed as recently as 2010, this CD is clear evidence of an infectious brand of contemporary Zimbabwean-inflected music emerging fully formed from our west coast.

Saeculum Aureum
Band of the Royal Regiment of Canada
www.band.rregtc.ca

2012 marks the 150th anniversary of the establishment of the Royal Regiment of Canada. To commemorate this anniversary the Band of the Royal Regiment (BRRC) has produced a 2-CD set of recordings tracing the history of the regiment and its band. From Elgar’s Pomp and Circumstance Military March No.4 and Holst’s First Suite in E-Flat Major through Gershwin and Ellington to Mancini and The Beatles, this recording spans a broad spectrum of genres in the concert band style. The title track, Saeculum Aureum (Golden Age), was written for the band by Major Paul A. Weston, formerly of the Royal Marines, now Associate Director of Music of the BRRC.

For most aficionados of concert band music, no CD of this sort would be complete without one or more marches reflecting the traditions of the modern band. This set includes two excellent marches with a Canadian connection which are rarely heard. The first is Vimy Ridge, written in 1921 by British composer Thomas Bidgood to commemorate that great battle of April 1917. My father survived that battle, and I have memories of playing a 78rpm version of this march which had been recorded in England during WWII The second, lesser known march is Men of Dieppe. This has an even stronger connection to the regiment. The composer, Stephen H. Michell, was one of several hundred members of the Royals captured and taken prisoner when the regiment stormed the Dieppe beaches. This march was composed during his time in a prison camp.

On a few selections, the band is joined by collaborators from many performances over the years. These include vocalist Danielle Bourré, the Pipes and Drums of the 48th Highlanders and Thomas Fitches at the keyboard of the organ of St. Clement’s Anglican Church. All of the numbers on the first CD are recent recordings under the direction of director of music, Captain W. A. Mighton or associate director, Major P. A. Weston. Most of those on the second CD are from the past 50 years conducted by three previous conductors.

For the most part the recording quality is excellent. However, there are a few selections on the second CD, included for historical purposes, where the recording quality is not up to the same standard. One such number is Alford’s Standard of Saint George. In this case the previously unreleased recording has been taken from the sound track of a 16mm film, The Trooping of the Colour, produced in 1962.

For those interested in the origins of the music, combined with the history of the regiment and its bands over the years, the 20-page booklet contains excellent commentary on every selection and historical connections where appropriate. It also includes information on the soloists and guests.

Available from: R Regt C Band, Fort York Armoury 660 Fleet St. W., Toronto, Ontario M5V 1A9 (www.band.rregtc.ca).