Pot Pourri

Urban Flute Project [RE:Defining Space with Sound]

Jamie Thompson

Independent UFPCD001 (www.urbanfluteproject.com)

The aim of the Urban Flute Project, the brainchild of Royal Conservatory flutist and teacher, Jamie Thompson, as I understand it, is to acquaint anyone who is interested (through its website and through CDs like this one) with urban locations around the world, not through the way they look but through their acoustical properties, conveyed by hearing a flute played in them.

This CD consists of 28 short tracks of Jamie Thompson playing in various locations. He was most successful in attaining the goal, “Re-defining space,” the CD’s sub-title, in places where the acoustical environment became a co-performer: the Manitoba Legislature; the Scarth Street Deco in Regina; track the Soldiers’ Tower at University of Toronto; Singhampton Bridge; Laird Lair; and the Millennium Centre in Winnipeg. The reverberation of these spaces became his performing partner. The ambient sound conveying the unique sonic properties – everything from moving water, birds, industrial machinery, horses’ hooves, the voices of people and even frogs – on the other tracks came across, alas, not as musical partners but as contrived impositions, reminiscent of the naïve sound effects of 1940s and 50s radio dramas.

No doubt, live at the time, every one of these musical moments would have been surprising and magical. Capturing the magic, the surprise and the spontaneity in an audio recording, has proven here to be very difficult if not impossible. The idea is good, but did not translate well into CD format. I might add that Jamie is a fine flutist and I hope he continues to record. I look forward to hearing a recording that does him justice.

Watching You Think

NEeMA

NEeMAste (www.NEeMA.ca)

Very few people would say they listen to Leonard Cohen’s music for his singing. Most of us put up with his half-spoken rumblings in order to get to his songwriting, in particular his lyrics. The same can be said about NEeMA. Granted her singing is much prettier than Cohen's – who is one of the producers of “Watching You Think” – but that's not why you should get this album. You should get this album – immediately – for the really, really good songs.

Lyric writing is NEeMA's strongest suit and for the most part she's not telling us anything we don't already know and would say ourselves if only we were half as clever. “Some things are better left unspoken, better left unsaid. Some stories better left unwritten, letters left unread.” We understand that and all the other 11 songs NEeMA has written. (The twelfth track is a cover of Mark Knopler's heartbreaker, Romeo and Juliet). Bone To Pick With Time cleverly expresses what we all feel about our “very little window to do what we must do” and “a twisted little jack-in-the-box” is the evocative image in Jealousy.

Sensitively produced, the songs are enhanced but not overwhelmed by the arrangements: a cello here, a tabla there and, mercifully, nary a ping from that overused darling of the modern female singer-songwriter, the glockenspiel. Borrowed from a cross-section of Montreal scenes the musicians include Arcade Fire's Howard Bilerman and Tim Kingsbury, and Joe Grass and Miles Perkin who played with the late Lhasa de Sela. Check neema.ca for tour dates.

Fray

Lenka Lichtenberg

Independent SR265 (www.lenkalichtenberg.com)

With “Fray” (Free), her fourth solo CD, the Czech born Toronto-based singer-songwriter Lenka Lichtenberg has embraced Toronto’s World Music aesthetic. Singing expressive Yiddish and English lyrics with an intimate soprano over well-wrought arrangements that bridge Eastern European, Middle-Eastern, Egyptian, South Asian, North and South American styles, Lenka takes us on a lilting musical journey replete with global echoes.

The songs on “Fray” gently blend musical boundaries, accomplished with the aid of a selection of Toronto’s world and jazz musician who’s who. Contributions shine from the quanun master George Sawa, Ravi Naimpally on tabla and dumbek, percussionist Alan Hetherington, bassist extraordinaire George Koller, woodwind expert Ernie Tollar and John Gzowski on guitars and oud. Those listeners who expect to hear standard Klezmer instruments such as piano, violin, clarinet and cornet on such an album are also rewarded.

Notwithstanding the delightful blend of word music arrangements here, Lenka Lichtenberg’s work is foremost a product of her passion and dedication to international Yiddish culture and to the development of what is sometimes called New Jewish Music. Her practice of cantorial singing within the Jewish liturgy “fills me with light and total happiness” she has said. It clearly illuminates “Fray” with a luminous energy, making the cumulative experience of listening to this album a joy.

[Editor’s note: Although for environmental reasons there is no program booklet included with the CD Ms Lichtenberg assures us all lyrics and translations will be available on her website lenkalichtenberg.com.]

Concert Note: Lenka Lichtenberg and special guests including Maryem Tollar will launch “Fray” at the Ashkenaz Festival on September 4 at 6:00 at the Lakeside Terrace, Harbourfront.

Hive
Gamelan Madu Sari
Songlines SGL 2406-2 (www.songlines.com)

Vancouver’s brave label Songlines Recordings has just released the second fine album by that town’s Kyai Madu Sari. Playing a complete Javanese gamelan, this group of composers and musicians has been developing innovative music and theatrical productions since 1986. Their ambitious and delightfully rewarding album documents a new level of artistic sophistication and an ability to communicate their voice to a wider non-gamelan-centric audience.

“Hive” is constructed around three things: the group’s provocative shadow theatre production Semar in Lila Maya, the full possible instrumental range of the Javanese gamelan, and vocals up front in the mix. In fact those unfamiliar with the world of Javanese gamelan music may be surprised at the prominence of the glorious solo and choral singing in much of it.

Ben Rogalsky’s compositions illustrate all three threads beautifully. His song From Heaven to Earth deftly draws on two music genres for inspiration: the old-fashioned syncretic Indonesian folk style kroncong and the more recent Javanese campur sari. Behind Rogalsky’s backing of gamelan allied with mandolin, cello and string bass, are the warm and communicative vocals of the composer, Jessika Kenney and the chorus. The same vocal group is heard to good, though very different, effect in English composer Alec Roth’s eerie Full Fathom Five.

The Javanese born and long-time west coast resident Sutrisno Hartana's two elegant compositions are the most Javanese in feeling and conception of the works presented here. “Hive” is a rich and rewarding musical experience that challenges as well as it soothes – and magically manages to do it on several cultural levels at once.