Pot Pourri

Hourglass
Murray McLauchlan
True North Records TND777 (truenorthrecords.com)

Murray McLauchlan, celebrated singer-songwriter and recipient of the Order of Canada, has turned to such issues as privilege and racism on his 20th album, Hourglass. Its pointed songs speak sincerely and directly to issues of greed and prejudice that make so many lives unliveable.

These are folk-style, gentle and homey songs, sometimes nearly whispered, although I think McLauchlan’s vocal mid- and upper-ranges are just fine! His acoustic guitar work, Burke Carroll’s steel guitar and other instruments are always reliable. Indeed, nothing on this album is overcomplicated and some of the songs would attract the interest of both children and parents.  

I particularly like the title track, which emphasizes the urgency of current problems:  “But I see the sand run out through the hourglass, I swear I don’t remember it ever ran so fast.”  Here lyrics and melody, guitar accompaniment and the steel overlay come together especially well. Lying By the Sea I find the most moving song. It is based on the tragic media image of a refugee boy fleeing the Middle East who drowned and washed up on shore. America, with a beautiful steel guitar introduction, is a plea to the USA that could also apply in Canada: “Now you’re in your separate rooms, And all the doors are locked.” Finally, I Live on a White Cloud and Shining City on a Hill are songs reminding us of our obliviousness – to racism and to reality itself.

Dressed in Borrowed Light
Clara Engel
Independent (claraengel.bandcamp.com)

Songwriter Clara Engel has been busy during the pandemic, completing two collections of songs entirely self-produced while at home, based on lyrics that read like extended poetry and dressed in an album cover featuring Engel’s original artwork. 

In Dressed In Borrowed Light, dark, evocative themes of cycles of life, loss and nature float atop rhythmic drone-like melodies that leave plenty of room for the poetry to come through. This is a performance much like one might find at a poetry reading or meditative retreat, and a collection of guests adds an assortment of instrumental sounds that provide some additional ethereal qualities, bringing to the album a meditative, folk-like feel. 

Musical arrangements include Engel on vocals and a collection of instruments such as shruti box, gusli, lap steel and morin khuur (Mongolian horse-head fiddle), which delicately add colour to the songs. 

A shorter album than some, it’s six tracks flow gently as a collection of spoken word set to music. From one poem to the next it makes a soft landing, belying some of the darker themes of the lyrics.

Listen to 'Dressed in Borrowed Light' Now in the Listening Room

Continuous
Miguel de Armas Quartet
Three Pines Records TPR-003-02 (migueldearmas.com)

Miguel de Armas – the inspired Cuban pianist/keyboardist/composer/producer and co-founder of the noted Cuban timba-band N.G. La Banda – has just released a glorious musical manifesto of genre-blending, unifying tunes, tunes that are also firmly rooted in the sacred and ancient feel of Cuban “songo,” a magical fusion of Afro-Cuban musics with elements of pop, Latin jazz, calypso and other esoteric influences. Joining de Armas on this invigorating CD are Marc Decho on bass, Michel Medrano Brindis on drums and Diomer González on congas, as well as an array of luminary guests that include bassist Roberto Riverón, saxophonist Petr Cancura, percussionist Samuel Formell, congero (and member of Los Van Van) Joel Cuesta and noted congero Eliel Lazo. 

All of the compositions here were penned by de Armas (with the exception of Song For Bebo by Decho). De Armas has an almost cinematic way of telling his musical stories, stories that unite us all in the human experience: love in all of its colours, immigration, culture shock and the seemingly un-ending northeastern winters. Things kick off with the title track – a piquant, bass-infused burner with a dash of supple vocals, as well as a thoroughly delicious and complex chord progression and melody line. Next up is the contemporary Couscous, with its morphing time signatures, pianistic excellence and stirring bass solo by Decho.

Another stunner is Angelique, with its haunting arrangement and phenomenal guitar work of Elmer Ferrer, as well as the incendiary performance by Lazo. Other delights include the romantic, neo-classical string-laden Eva Luna and the thoroughly satisfying Gone Too Soon. Without question, this is one of the most enjoyable, globally unifying and instrumentally thrilling CDs of the year.

Gong Renteng – Gamelan Music of Cirebon, Indonesia: Volume 5
Denggung – Gamelan Music of Cirebon, Indonesia: Volume 6
Gamelan Sinar Surya (gamelan.bandcamp.com)

The ancient region of Cirebon, located in Northwest Java, Indonesia is home to a large number of performing arts including several types of gamelan, the orchestral music indigenous to Java. California group Gamelan Sinar Surya (GSS), directed by Richard North – the gamelan director and lecturer at UC Santa Barbara – specializes in the performance of all types of Cirebonese gamelan. North, who has been studying, teaching and performing this music since 1972, is a passionate international authority on Cirebonese music. 

Cirebon gamelan music has been under-represented on records. GSS has however been assiduously addressing that lacuna. Impressed with the comprehensive scope of its growing recorded catalogue, I’ve reviewed its previous albums in The WholeNote, most recently in the November 2019 issue. The latest GSS releases cover two attractive antique pre-Islamic Cirebon gamelans: gong renteng (Gamelan Music of Cirebon, Indonesia: Vol.5) and denggung (Vol.6). Significantly, both distinct genres appear to predate the better-known five-tone prawa/slendro and seven-tone pelog gamelan types which appear to have emerged later in the 16th century. With its crashing cymbals, lively drumming and energetic tempos, gong renteng is a lively village gong ensemble type believed to date back to the 1400s – making it the oldest gamelan music in West Java. Denggung on the other hand is dramatically different in performance aesthetic. Its softer volume and spare, peaceful, sometimes ritual mood better suit an aristocratic milieu.

Vol.5 – Gong Renteng: Gong renteng came to the brink of extinction a generation ago. Thanks however to the dedication and enthusiasm of young musicians in the Cirebon area – plus the concerted efforts of Richard North for over 40 years – this ancient music has recently experienced a revival resulting in several gong renteng festivals in the region. Over 18 instrumental tracks the album’s repertoire is split between pelog and slendro tunings, each evoking a different affect. The music is also enlivened by idiomatic vocalizations made by the Californian musicians. This delightful sonic touch captures the inner spirit of Cirebonese village-style gamelan performance. 

Vol.6 – Denggung: With roots in the Hindu Pajajaran kingdom of West Java some 500 years ago, denggung is considered a rare, sacred gamelan. The atmospheric music on this album makes it clear that GSS has taken great care to honour that heritage. Out of the three Cirebonese palaces, only the denggung at the Kacirebonan Palace is still being played today. GSS is however giving back to the home culture by working closely with the palace ensemble to foster a healthy future for this beautiful and moving music. 

These two albums are a testament to how gracefully a Western group can, with respect, embody the music of another culture – and spread it around the world.