Pot Pourri

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.

Cuckoo
Lemon Bucket Orkestra
(lemonbucket.com)

There is so, so much exciting world music performance energy in Toronto-based Lemon Bucket Orkestra’s fourth release. Together for 14 years, their ensemble playing has paid off again, as they cleverly combine powerful Ukrainian folk polyphony, driving Balkan rhythms, Klezmer and such modern Western music elements like punk to create their sound.  

The 11 tracks feature LBO’s modern arrangements of traditional folk music and original compositions. Opening track arrangement of Shchedryj Vechor, a traditional Ukrainian folk song, opens with bright singing and accented ends of phrases. Drum crashes and horn held notes and a short horn solo leads back to opening repeated singing. Title track Cuckoo draws on two Ukrainian folk songs, with whispered speaking female vocals. Energy galore comes from violin against background repeated horns, background screaming/talking, back to fully orchestrated sung melody. Unexpected clapping to repeated horn solo and quieter vocal quasi screaming. Big crash ending with screaming backdrop. Two tracks – original Mik Mik and traditional Ukrainian Da Ishly Divky – showcase special “feature” Macedonian master trumpeter/arranger Nizo Alimov from Kočani Orkestar. Petrunino combines traditional Bulgarian folk and Irish jigs and it is astounding how well these two culture’s music combines. Fun violin combines Irish, a bit of jazz, Bulgarian folk for a completely new musical genre.

Lemon Bucket Orkestra is pushing the boundaries of traditional world folk music to great success, giving it a new sonic future while still respecting the original song. From intense, loud sounds to groundbreaking genre arrangements to free sections, it is party time!