Pot Pourri

Brahms, Balkans & Bagels
Oktopus
Independent (oktopus1.bandcamp.com/album/brahms-balkans-bagels)

Formed in 2010 by clarinetist Gabriel Paquin-Buki, Oktopus, the Quebec-based klezmer octet (get it?) dedicates itself to exploring those creative possibilities that reside in the stylistic margins and fuses Western Art Music with klezmer and jazz improvisatory sounds on this terrific release. Brahms, Balkans & Bagels, released through the ensemble’s online Bandcamp site, expands upon and amplifies the influence that folkloric and traditional musical traditions had upon such esteemed art music composers as Brahms, Saint-Saëns and Franz Liszt. Although it is well-known that Béla Bartók and Zoltán Kodály—whose dynamic piece Kállai kettős is performed with aplomb here—were among music’s first ethnomusicologists, less is understood about the ways in which traditional folk music styles inspired other composers from the Western Art Music canon. 

Over 12 fine performances, creative arrangements and engaging sonic fusions where the only constant is musical excellence, Oktopus demonstrates why it has been routinely fêted with nominations for JUNO, Canadian Folk Music, Félix and Opus Awards.  Perhaps most notably, they earned a “special prize for the most creative fusion of ancient and contemporary music traditions,” at the Slovak Radio’s International Competition of Folk Music Recordings in Bratislava. Creative fusions certainly abound on Brahms, Balkans & Bagels. The album’s leadoff track, Mahler Goes Meshuge (Mahler goes crazy) sets the tone for the excellently curated, dynamically performed, inspired arrangements to come. Notable contributions from French chanteuse Janna Kate underscore the fact that there is much to enjoy on this unorthodox, but always musical, new release.

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Sofresh Tisch
Ladom Ensemble
Lula World Records LWR050A (ladomensemble.bandcamp.com/album/sofreh-tisch)

Canadian Ladom Ensemble is back with its third illustrious release, Sofreh Tisch. The four-member band’s diverse cultural and musical influences are created by founding member pianist Pouya Hamidi from Iran, who is joined by current members cellist Beth Silver of Ashkenazi Jewish heritage, Canadian accordionist Michael Bridge, and Canadian percussionist Adam Campbell. They combine their personal musical talents and influences to blend Western classical, klezmer, rock, tango, jazz, East Coast traditional and classical Persian sounds. 

The ten diverse tracks are highlighted by each musician’s technical and improvisational expertise. Opening Gegna Taksim was composed by Jewish klezmer composer/violinist Jacob Gegna as an introduction or interlude. Here, with its moving cello melody above a low drone note, and tonal melodies with touches of modern music effects like rapid runs, it leads directly to the next track, Hamidi’s three movement Distance Suite. Inspired by separation.1. Hope opens with cello plucks, repeated notes on the piano, and taps on the accordion like raindrops. Detached chords with conversational legato cello and accordion melodies add drama. Gole Pachal is a Ladom “traditional” take on an Iranian folksong with crashing dramatic instrumental start, high pitched piano, and a memorable, traditional mid piece section with accordion and cello countermelodies.

Together as a “band,” Bridge’s musical accordion lines, Silver’s cello effects/melodies, Campbell’s intense to subtle percussion, and Hamidi’s grounded stylistically diverse piano playing make Sofreh Tisch  (meaning “spread” in two senses – the ceremonial table cloth at a celebration, and the feast placed on the cloth) unforgettable.

Rebekah Wolkstein: Drew Jurecka – The Legend of Carau
Payadora
Independent (payadora.com/legen-of-carau)

This stunning, multi-media project is the brainchild of founding members of the Payadora ensemble, writer, violinist and vocalist Rebekah Wolkstein and multi-instrumentalist and composer Drew Jurecka, who also serves as producer and recording engineer. The package involves a children’s book with original text by Wolkstein, illustrations by Camille Dumaine, and an original score by Jurecka, as well as related dance videos by PointTango Dance. The CD (or digital download) can easily be coordinated along with the book, for the optimum listening experience.

The spine of this ambitious project is an Argentinian folk tale, The Legend of Carau (the weeping bird of Argentina), which is beautifully re-told here and accompanied by a stirring 14 song original score. Payadora expertly performs Jurecka’s score, replete with Wolkstein on violin and vocals; Jurecka on bandoneon, violin and mandolin; the late Robert Horvath on piano; Joe Phillips on bass and guitar, and vocalist Elbio Fernandez. 

Things kick off with the rhythmic and bombastic Gaucho de las Pampas featuring Fernandez, and segues into the lovely violin and mandolin-centric bolero, Remember What’s Important. The Call of the Bandoneon is a stand-out, featuring Jurecka’s ridiculous chops, and morphs seamlessly into Fruta Prohibida (Forbidden Fruit) – a red-hot tango, masterfully sung by Fernandez. Also superb is the lovely ballad, Zamba del Carau which features the artistry of the entire ensemble. Horvath’s emotional and consummate piano solo on the reprise Ojos Que Mienten (Eyes That Lie) is the perfect closer for this radiant, potent and meaningful collection…which is not only a succinct “Morality Play” about what is “truly important” (suitable for children), but a verdant, irresistible, cross-cultural journey to a rich country of mystery, music and passion, with plenty of appeal for all.

Immersed
Justin Gray
IAN Records LC 84945 (justingraysound.bandcamp.com/album/immersed)

As soon as music became a recordable commodity,  pressed onto wax cylinders and disseminated through record distribution, jukeboxes, and radio stations, it took on a codependent relationship with technology. For example, while it is true that Louis Armstrong’s instrumental virtuosity expanded the instrumental range of the trumpet, his broadening of register would not have been possible were it not for the then burgeoning technological advances of brass manufacturing. Same goes for the Beatles’ important relationship with the recording studio, where technological advances helped the group realize their increasingly sophisticated artistic goals. And on it goes. 

For bassist, composer, mix and mastering engineer and producer Justin Gray, it has been the industry’s technological expansion into Dolby Atmos that has facilitated the realization of his own musical vision, supporting the ambitious, expansive, and consistently excellent work contained on Immersed. As the name articulates, the music was recorded using immersive audio techniques aimed at capturing every sound, musical gesture, and improvisation in three dimensions through a sophisticated process of microphone placement and studio mediation. 

While there is much more to discuss regarding the album’s enmeshed relationship with technology, this cinematic release on IAN Records also offers a wonderfully satisfying musical experience thanks to the contributions of a terrific cast of 30-plus world class players who collectively traverse the stylistic boundaries of film, jazz, and Indian Classical Music, among other vibrant global music traditions. 

Full disclosure, Justin is a friend and industry colleague, but with Immersed his expansive creative vision, technological engagement, and clear musical artistry is undeniable. Immersed, the album, can be paired with a full-length film and the stereo CD package comes with cinematic visuals for each track and an informative 24-page booklet of liner notes.