Pot Pourri

Global Canvas
Ron Korb
Humbledragon Entertainment HD2024 (ronkorb.com/globalcanvas-cd)

Flutist, Ron Korb, has made a brilliant career, performing on not only the usual Boehm flute but also on an array of flutes and related instruments from other cultures, which is what makes him such an extraordinary musician. I can say without exaggeration that he has mastered an extraordinary number of instruments, all of which are of the flute family, but which are all different and present unique problems. In addition to the usual flute and bass flute, which figures prominently on this recording, Ron plays an oriental bamboo flute and several other oriental instruments.

Korb is joined by 19 musicians playing an assortment of western and oriental instruments, which add an extensive and highly unusual orchestration in which contrast has a striking role, as in track eight (Kindness), which begins with Ron playing the melody on the bawu, a side-blown Chinese reed instrument that sounds a bit like a clarinet, after which this same melody is repeated on the erhu, a 2- string Chinese bowed string instrument. In track three, (Desire), Korb begins with a contemplative melody on the bass flute and is joined unexpectedly by the tabla (Indian drum). He even delves into the absence of orchestration in track 16 (Peace Flute), an unaccompanied bass flute solo, in which the resonant bass sonority provides all that is needed.

Also featured are several Latin jazz tracks on which Korb uses a Boehm flute and to which Cuban-Canadian pianist Hilario Duran makes significant contributions.

Confluence of Raga Guitars
Joel Veena; Matthew Grasso
Independent (bit.ly/ragaguitars)

It’s probable the guitar was first introduced to South Asia in the 16th century via the Portuguese colony of Goa. The next guitar wave to arrive there was the Hawaiian (lap steel) guitar, a key sound in the commercially successful and influential touring Hawaiian music and dance troupes of the 1920s and later decades. In the 1960s Brij Bhushan Kabra adapted the guitar to play Hindustani (North Indian) classical music, lap steel style. Performing concerts and releasing numerous LPs, Kabra and his students’ innovations have long been accepted by the Hindustani music world. 

Confluence of Raga Guitars showcases the latest evolution of Indian guitar construction and its related raga-based music performance practice. Eloquently played by Matthew Grasso (Tantrakari guitar) and Joel “Veena” Eisenkramer (Indian slide guitar), two American guitarists who have dedicated themselves to playing in the Hindustani classical tradition, the album explores three ragas. 

Their presentation has several novel features. While the ragas are rendered in a traditional way, each focuses on an alaap (where the outline of the raga is melodically explored without meter), and jor (where melodies pick up speed and rhythmic activity). Typically, the following section is the gat (bandish) which introduces a theme within a tala, usually accompanied by tabla. Interestingly, however, the musicians have chosen not to include a gat section. This keeps the listener’s attention tightly focused on the dialogue between the two guitars, highlighting their distinctive approaches to melody, tone production and timbral diversity. For example, Grasso’s Tantrakari guitar uses nylon strings, plus steel sympathetic strings and a specially tuned fingerboard. On the other hand, Eisenkramer’s new Indian slide guitar is an evolution of the instrument design long ago adopted into Hindustani music. His glissando microtonal ornaments and expressive affect contrast markedly with Grasso’s more Spanish guitar-sounding fingerstyle approach, dramatically enlivening the album’s dialectical duet (jugalbandi).

Listen to 'Confluence of Raga Guitars' Now in the Listening Room

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.