09 HorojoSet the Record
Horojo Trio
Stony Plain SPCD 1446 (stonyplainrecords.com)

This recording roars to life right out of the gate with the rollicking, bluesy song: Man of Steel. This music instantly tells you that Horojo Trio has an instinctive feel for the musical tension of the blues line; they infuse and temper the narrative of each song with elemental despair and the soaring exhilaration of hopefulness.    

In terms of wail and sinewy tone, Jeff Rogers seems cut from the same cloth as musicians like Greg Allman. His evocative vocals also profit from the gutsy guitar lines of JW-Jones. A unique tension between the harmonically loaded melody and the astonishing fireworks of Rogers’ piano collides with Jones’ guitar. Meanwhile Jamie Holmes unleashes the rolling thunder of his drumming that propels each song with visceral energy. Together the three artists create music that has an emotional power which is truly affecting. Songs such as Man of Steel and A Little Goes a Long Way are fiercely driven and typical of this wonderfully stormy repertoire. The piece Stay Crazy is nuanced and exquisitely soulful. 

The music is beautifully written, which must certainly make it easier to sing and play. All three members of the trio come across as rugged musical adventurers and it is this sort of abandon that makes for the unique and vivid nature of the music – appropriately raw, yet never strident; this makes the music of Set The Record not to be missed.

10 Way NorthNew Dreams, Old Stories
Way North
Roots2Boot Recordings R2B22-01 (waynorthband.com)

New Dreams, Old Stories is the third album from Way North, a group founded in Brooklyn with three Canadians (Rebecca Hennessy, trumpet, Petr Cancura, tenor saxophone and Michael Herring, bass) and their American drummer, Richie Barshay. Ten of the 12 pieces are originals by Hennessy, Cancura and Herring while Barshay provides two arrangements. All the tunes are lively and melodic and infused with the energy of good friends making music together. 

The opener, Play, is an up-tempo song they use to open their concerts. I›m Here to Stay is an off-kilter blues with a stuttering melody. Cancura’s tenor solo is funky, funny and occasionally aggressive while Hennessy’s trumpet solo is contrastingly melodic, quoting from the song’s theme and infusing other snippets as it builds. Herring’s If Charlie Haden couldn’t write a song to bring world peace, what hope is there for me? has a mournful Mingus quality, with its lengthy melody played by the trumpet and saxophone, and includes an intriguing bass solo. 

New Dreams, Old Stories is an album full of catchy songs that reveal more complexity with repeated listening. The solos are varied and intriguing and the rhythm work by Herring and Barshay is both solid and inventive.

11 Emigre and ExileEmigre and Exile
Arcomusical
Panoramic Recordings PAN25 (arcomusical.com)

Led by American percussionist/composer/scholar Gregory Beyer, the Arcomusical ensemble features the berimbau, the Afro-Brazilian musical bow instrument. Its lyrical strings make a beautiful sound all its own, difficult to describe in words yet easy to listen to! Arcomusical has been expanding the berimbau’s traditional sounds by commissioning and performing contemporary chamber works for solo/ensemble berimbau and other instruments. This, their third release, was recorded safely through multi-tracking in the pre-vaccine summer of 2020.

Jeremy Muller’s Singularity (2020) is a storytelling berimbau ensemble work introducing the listener to such beautiful sounds as melodic wide-pitch patterns, strums and volume changes from traditional to new music tonalities. Beyer plays all instruments spectacularly in his three compositions that showcase his extensive berimbau expertise. Fios e linhas (2020) for berimbau and percussion instruments has an upbeat colourful vibe pulse and high-pitched berimbau sounds above mallet instruments. Berimbau Duo No.3 “for Adam and Jess” (2007/2018) resonates with berimbau repeated notes and ringing low notes, performed by Beyer and Anthony Cable. Berimbau Solo No.4 “Sakura Park” (2006/2019) is two-part, from rhythmic to atmospheric. The six-movement title track Emigre and Exile (2019) features its composer Matt Ulery on acoustic bass with berimbau sextet in repeated figures, ringing strings and high-pitched melodies from classical to jazz to pop sounds and more. Alexandre Lunsqui’s berimbau sextet  Repercussio (2006/2014) adds percussive scrapes and bangs to this instrument’s timbres.

All performers and compositions are perfect. I am so pleasantly surprised how much I enjoy these enlightening berimbau musical sounds!

Listen to 'Emigre and Exile' Now in the Listening Room

01 RadiaOf Glow and Abandon
Radia
Independent (ryandavisviola.com) 

Viola is one of those instruments that is loved by many but remains somewhat underrepresented in a variety of musical contexts. Ryan Davis aka Radia puts a glowing spotlight on it here, showcasing multitudes of colours and possibilities, and does so with much skill and imagination. The whole world is wrapped up within 16 minutes of music, a world so engaging that the listener is left wishing for more.

Radia is a one-man band – Davis plays his viola with abandon but he also does electronics, looping and beats, creating music that crosses genres easily. The blend of classical, electronics, folk and hip-hop elements creates a unique and accessible voice. Davis’ tone is dark and beautiful, sweet, resonant. His compositions are flowing from one to another meaningfully, as if he is leading us through some secret passageway. 

Of Glow & Abandon opens with the sorrowful and poetic Dreaming, After All. There are neither electronics nor beats here, only the purity of sound and expression, the lone viola voice that pleads and sings and dreams. It segues into Blood Orange seamlessly and the mood lightens up with viola pizzicatos and beats. Davis continues building up the sound and energy, adding more beats and more soaring melodies in Colour You Like, and the mood grows into a dancing joy. Set a Fire In My Snow concludes this musical narrative in a cinematic ambience. 

Of Glow & Abandon is a glorious ode to the viola and a showcase of one man’s creativity.

Listen to 'Of Glow and Abandon' Now in the Listening Room

02 Quartetto GelatoTasty Tunes
Quartetto Gelato
Independent QGPI 011 (quartettogelato.ca) 

I first experienced Quartetto Gelato (QG) in its original incarnation well over 25 years ago. It was on Salt Spring Island, BC and the group blew the roof off of that small island hall with their (now signature) dazzling virtuosity, eclectic repertoire, masterful musicianship, infectious energy and great sense of fun. Despite the many intervening years and personnel changes, they’ve still got it! Tasty Tunes, the quartet’s tenth album, is yet another celebration of all those signature qualities enumerated above that make QG unique, exciting and wholly entertaining! 

QG’s current incarnation of world-class musicians comprises oboist Colin Maier (also on saw, vocals and bongos); cellist Kirk Starkey; violinist/vocalist Konstantin Popović; and Matti Pulkki on the accordion. Charles Cozens, a QG former accordion player, performs on three tracks, while his brilliant, inventive arrangements are heard throughout the album. 

From an astonishing Cuban version of Beethoven’s Sonata Pathétique and the sizzling “Gypsy-funk” of Cigano No Baiao, to Piazzolla’s poignant Tanti Anni Prima, with Maier’s haunting and heart-achingly beautiful turn on the saw, and the whimsical Cartoon Fantasy (with guest appearances by the Flintstones and Pink Panther), along with Spaghetti Roads’ delightful nod to John Denver and The Good, The Bad and The Ugly, and Popović’s magnificent vocals and stirring violin on Mesecina, this delicious album exudes pure joy!

In what could be subtitled “Mozart Meets Minnie the Moocher,” Quartetto Gelato’s Tasty Tunes will leave a smile plastered on your face.

Listen to 'Tasty Tunes' Now in the Listening Room

03 Ellen GiblingThe Bend in the Light
Ellen Gibling
Independent (ellengibling.ca)

Nova Scotia-based harpist Ellen Gibling expertly performs in wide-ranging styles. Her McGill classical harp training helped establish her as a gifted classical/experimental music solo and ensemble performer. Her interest in Irish traditional music led her to the University of Limerick’s Master’s Program in Irish Traditional Music, graduating in 2019 and now, this release. Gibling performs her solo harp arrangements and co-arrangements of Irish traditional tunes, plus originals composed by Gibling and others with detailed eloquence, careful phrasing and colourful, wide pitches 

Gibling’s choice of pieces makes for fun listening. Opening track Hop Jigs comprises three traditional Irish harp jigs she learned in Limerick, colourfully played with steady beats and singalong melodies. Second track is three Irish polkas with faster melodic lines and lower countermelody chords holding them together. Gibling’s performance of the Irish traditional slow Air: Lament for the Death of Staker Wallace wallows in her shining sad musicality and technical expertise. Gibling’s friend Karen Iny composed Waltz & Reel: Maya’s Waltz/Forty. Maya’s Waltz is Irish-flavoured yet calming with a slight classical musical feel leading to the slightly faster Forty celebratory birthday reel. Gibling’s composition, Jigs: Side by Each, consists of two jigs commissioned by her friends about the two dogs in their lives. These dogs must be happy since joyous traditional grounded dancing sounds are played with ascending and descending lines to closing high-pitched slowing strings. 

Gibling’s immaculate understanding of centuries-spanning harp styles, compositions and Irish music results in music all her own!

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