Pot Pourri

Feel With Blood – Echoes of Theresienstadt
Lenka Lichtenberg
Six Degrees (open.spotify.com/album/6Dj5Uf3eCSgVNUCOePO6fr)

This album of songs is a continuation of the experiences of Anna Hana Friesová (1901-1987), and of Lenka Lichtenberg, her granddaughter. These stories of Friesová’s life in a concentration camp were first sung in the Czech language on Thieves of Dreams (2022) by Lichtenberg, an artist with a gorgeously spellbinding and agile soprano that sometimes swoops down into a dark lower register, eminently suited to bringing the elemental sadness of Friesová’s poetry to life. 

The crimson-coloured outer package is the first sign that what you are about to hear are especially heartbreaking songs based on Friesová’s diaries that documented life during the Holocaust. In Feel With Blood, Lichtenberg has grown to deeply inhabit more than just her grandmother’s character, but her very life. She sings with great feeling and intensity and an always vivid response to the text documented in Friesová’s diaries. Lichtenberg’s voice is sharp as a knife, penetrating the depth of life and poetry with each beauteously soft – sung or recited – phrase. The vocalist often employs chilling chest tones as she draws us into Friesová’s world, making her Holocaust life leap off the page. 

The superb song poetry features matchless depictions of Friesová’s loneliness and suffering. Lichtenberg displays sublime artistry, with an uncanny ability to make the North Indian tabla and its polyrhythms perfectly suited to the ululations of a voice soaked in Czech folk melodies on this wonderfully orchestrated recording.

Azadi
Tamar Ilana & Ventanas
Lula World Records LWR04551A (lulaworldrecords.ca/product-page/azadi-by-tamar-ilana-ventanas-cd)

Toronto-based multilingual singer and dancer Tamar Ilana, of Jewish, Indigenous, Romanian and Scottish descent, grew up on the road learning from and performing with her ethnomusicologist mother Dr. Judith Cohen. 

In three well-received previous albums Ilana’s world music band Ventanas (“windows” in Spanish), drew on her multiple roots and those of her Toronto bandmates. Their new studio album Azadi vividly extends the group’s musical purview, effectively mixing highly contrasting vocal and instrumental numbers over 12 tracks. As well as showcasing traditional Flamenco, Sephardic, Balkan and Brazilian songs in inventive arrangements, compositions by Ventanas members contribute contemporary themes. Ilana renders the lyrics in an impressive range of languages: Spanish, Ladino, French, Urdu, Greek, Portuguese and Bulgarian. 

Meaning “freedom” in Urdu and Farsi, the album’s title track was inspired by the women’s freedom movement in Iran opening with the uplifting lines, “Sun breaks through the darkened and cloudy skies / Shining bright on open and peaceful eyes / Moving free with liberty…” As for the song Ventanas Altas, within the charm of its vocal melody lies a secret earworm power. I was compelled to listen to it several times. This old wedding-courtship song, popular among Sephardic Jews of Salonika Greece, was collected by Cohen in Montréal. Ilana’s unaffected light soprano sounds just right.

Ilana shares that she’s “always struggled with my multiple identities, both cultural and genetic. As the world also struggles with these issues on multiple fronts, this album is a deep reflection of these questions, and a musical response in the form of peace, collaboration and acceptance.” I’m feeling it too.

Crazy Talk
Howard Gladstone
Sonic Peace Music SP000221 (howardgladstone.bandcamp.com/album/crazy-talk)

Toronto-based singer-songwriter Howard Gladstone’s eighth release is a 12-track recording showcasing his mature clear vocals, poetic storytelling lyrics in jazz to world to folk to rock music. He is joined by his core band members bassist Bob Cohen and guitarist/co-composer/co-producer Tony Quarrington, frequent pianist/vocalist Laura Fernandez and six other musicians.

Title track Crazy Talk, co-written with Quarrington, is a subtle tribute to Patsy Cline, the Beatles and Robbie Robertson. This lighthearted, jazzy country tune features a Quarrington guitar solo, Cohen bass solo, Fernandez back up vocals and Gladstone singing his witty lyrics like “That’s crazy talk… but then again, I’m crazy too.”  

Latin/world music references resonate in Little Bird where Jacob Gorzhaltsan’s birdlike flute trills, tweets and high pitched melodies accompany Gladstone. Oh, the Waters is multi-section with colourful guitar and accordion echoing. Irish Rain is a rollicking Irish drinking song held together by drum taps and Gladstone’s classic vocals. 

Longtime fans and new listeners alike should enjoy this hopeful, timeless Gladstone release.

Listen to 'Crazy Talk' Now in the Listening Room

Digno, Sophisticado Y Elegante
Jay Danley
Independent (jaydanley.bandcamp.com/album/digno-sophisticado-y-elegante)

Canadian composer and musician Jay Danley is a multi-instrumentalist with a passion for Cuban music. He has performed with Jane Bunnett, members of Buena Vista Social Club, and can be heard on recordings by Hilario Duran.

On Digno, Sophisticado Y Elegante, Danley takes you in spirit to eastern Cuba, where 19th century Spanish and African-influenced music and dance come together in a collection of original compositions that feature the tres, a three-course string instrument central to the Son Cubano tradition. On this ambitious self-produced instrumental recording Danley plays all the instruments.

 In the slow dance opening track, Adiós Al Ayer (Goodbye to Yesterday) the delicate sound of the tres almost whispers as it recalls times past, and is reminiscent of the ache felt when listening to Duran’s interpretation of Mirame Así (Look at Me Like This), on which Danley plays. El Pasado Seacabo (The Past Is Over) takes us further into rural Cuba charming us with its graceful melody. This is small-setting music that is never rushed nor calls attention to itself. 

On Guapachou Danley exceeds expectations by featuring the tres with a jazz improviser’s virtuosity. The tres follows multiple lines flying chromatically over the slow-moving chords. The single take tres solo is masterful. At the same time, amidst all this music mastery, one is left nostalgic for a time when the limitations of sampled horns and multitrack home recording was not required to bring engaging new music to the world.