Pot Pourri

Before You
Alicia Hansen
Independent (aliciahansen.com)

Alicia Hansen does not write party music. What the Vancouver-based singer and piano player does write are artistic, original and harmonically complex songs. Her propensity for minor keys and stark lyrics make her latest album, Before You, feel a little dark at times, but her beautiful voice and vulnerability more than make up for it.

Hansen’s third studio release comprises 11 tracks all written by her and produced by JUNO Award-winner, Jesse Zubot, who also plays violin on the album. Zubot and cellist Peggy Lee’s string work add to the haunting quality of many of the tunes, such as Who I Am or the opener Disintegrating Heart which explores themes of love and relationships, as many of the songs do. Other themes are emotional growth, self-acceptance and the rejection of standards set by others. In Fame and Glory Hansen writes, “So I hope that you’re not waiting for me, to turn into something that I’ll never be.” And that sums this record up well. Hansen’s work is worth exploring for anyone tired of formulaic pop offerings and keen for fresh, interesting, yet accessible songs.

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You’re Fine
Barbra Lica
Justin Time JUST 260-2 (justin-time.com/en/profilArtist/404)

Barbra Lica is on a songwriting and album-releasing tear. Her fifth CD in six years has just come out and it’s populated by all original songs, almost all written or co-written by Lica. For this album, she travelled to the mecca of American music, Nashville, where she collaborated on songwriting, enlisted players and recorded tracks, all under the tasteful oversight of Toronto bassist and producer Marc Rogers. So while this album is a bit of a departure from Lica’s previous jazzy records, it’s still true to her signature, sunny style. Even when she’s singing about heartbreak and longing, such as in Everybody Else, you need to listen closely to know it, since the songs are so consistently upbeat.

Besides Lica’s pretty, lithe voice, guitars are the stars of You’re Fine courtesy of Tom Fleming and Nashville session players Paul Franklin and Wanda Vick Burchfield, whether it’s the acoustic on the opening track Before I Do, which sets the tone for the album with its lovely simplicity, or the pedal steel, dobro and mandolin that enrich a number of the tracks. Heck, a banjo even makes an appearance on one song (Jolie Oiseau)! Joel Visentin’s keyboard work deserves mention as it subtly supports throughout the album then shines on the closing track, When I’m Gone, a lovely lilting number featuring piano and the instrument that’s most dear to this reviewer’s heart, accordion. Aaahh.

Bushes and Bombshelters
Ivana Popovic
Long Play CD 034 (ivanapopovic.com)

While it’s generally not my practice to mix reviews with politics, in this current political climate of hateful, anti-immigration rhetoric being hurled by xenophobic politicians (from both sides of our southern border and beyond), it delights me to review violinist and composer Ivana Popovic’s lovely debut album, Bushes and Bombshelters, which paints a poignant, musical portrait of a successful immigration story – her journey from Serbia to a creatively rich life in Canada.

An accomplished classical musician, Popovic’s compositional influences run the gamut from Bach and Shostakovich to Gypsy and Eastern European folk music. The ten original tracks on Bushes and Bombshelters cover the themes of longing and belonging, nostalgia, connection, homeland and new beginnings, and are crafted with the passion of someone who has experienced them all, intimately. Accompanying Popovic on her musical journey are pianists Saman Shahi and Perry Maher, double bassist Jesse Dietschi, trombonist Don Laws, percussionist Max Senitt, violist Nikray Kowsar, cellist Stuart Mutch and flutist Jamie Thompson. Popovic sings on three tracks; John MacLean lends vocals on one.

With the spirited clippity-clop of the voyage, the mood shifts from sombre to celebratory, brilliantly depicted by Popovic on electric 5-string violin with outstanding contributions from Laws and Senitt; this titular first track sets the tone for the entire album. From the evocative violin and piano duo, Sketches From Serbia, to the plaintive, prayer-like Blue for solo violin, and Memory’s exquisite interplay of flute, violin and cello, Popovic’s Bushes and Bombshelters is a journey worth taking.

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Felix Anima
Jeff Bird
Independent (jeffbird.com)

Canadian multi-instrumentalist Jeff Bird, familiar to many as the harmonica player for the Cowboy Junkies, describes his interpretations of the music of Hildegard von Bingen (1098-1179) as “Man plays 800-year-old music on the harmonica.” And so he does, with passion, clear musical understanding and respect on eight of her sacred chants. Bird also supports his harmonica playing with many other instruments like shruti box and lap steel, with special guest pianist Witold Grabowiecki on two tracks.

This is such a rewarding magical listening experience. Bird’s perfect breath control on harmonica emulates the original vocal lines throughout all his contemplative arrangements. The opening solo Lovingly Inclined Towards All is amazing from the start, with nice use of drone and musical touches maintaining von Bingen’s original stylistic aspects. Noble Rupert is given a reflective performance on harmonica and shruti box, as a low drone note supports the lead harmonica lines featuring dynamic held note swells. The Third Flies Everywhere is an intense harmonica/piano duet tour de force as the resonating very low piano notes contrast a detached piano melody, with the harmonica introduction adding new colour. A mid-piece solo piano leads to duet melodic conversations and an inspiring reflective harmonica line against more florid piano movement.

Bird’s decades-long passion for von Bingen’s music has enabled him to create a new brilliant sound mix of medieval and modern arrangements for instrumentations that all just work perfectly to the final harmonica closing fade.

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