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Even though the actual concert contained within these two discs was recorded in Chicago in 1978, Moers was the place where the record’s producer, Leo Feigin had his first of many “Sun Ra experiences”. In an unparalleled way, following the Arkestra’s heavy doses of experimentation, the 70’s were a phase of settling down, though their extra-terrestrial outlook remained intact. Heavy doses of percussive fury may be gone (though conga player Stanley Morgan and drummer Edward Skinner have more than their share of furious duels), but these are replaced by a heavy handed dosage of wind oblivion. Usual stellar line-up of John Gilmore and Marshall Allen on various saxophones, combined with three trumpet line-up of Michael Ray, Eddie Gale and Walter Miller give the listener more than they bargained for.
 
Furiously dense passages, combined with June Tyson’s persistently brilliant vocals - I bet she was dancing up a storm that night! - all melt in one giant pot. The Arkestra’s fifteen member strong line-up doesn’t obliterate Sun Ra’s organ mastery. In fact, his buzzing synth and drilling organ is evident all over the map. It’s especially thick on a track like Calling Planet Earth, where it’s heard up front and centre for a good few minutes.
 
Whether they’re jumping through standards – Somewhere Over The Rainbow, Body and Soul, King Porter Stomp – or interpreting their own space standards, the Arkestra was absolutely smoking that September night. For the devout and those that need to be converted, “Springtime in Chicago” is a real windy blast from the Arkestra archives.
 
Tom Sekowski

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To Play: The Blemish Sessions Derek Bailey Samahdisound Sound CD ss008

 
Free improvisation’s answer to composer John Cage, British guitarist Derek Bailey (1930-2005) was as much a theoretician as a performer. Someone who inculcated the idea of permanent improvisation, Bailey lived by the credo as well. During the course of his long career he was as open to trading licks with neophyte rock-oriented players as with the most respected international jazz figures.
 
Fundamentally however, Bailey was never more impressive than when he played solo. These memorable eight tracks – all entitled “Play” – conclusively demonstrate this. Recorded in 2003 before illness muted some of his inimitable tropes and techniques, the spur-of-the-moment improvisations are one of a piece, yet also linked to the distinctive FreeImprov modus operandi that Bailey and others evolved and modified in the late 1960s and early 1970s. Manipulating both an acoustic and an electric guitar, all the hallmarks of his mature style are on show. Jagged runs, single-string snaps and below-the-bridge strums share space with chromatic pulsations, percussive rasgueado, animated flat picking and microtonal slurred fingering.
 
Vibrant and melodic in its own way, there are points when “To Play’s” playing vibrates as if Bailey is a 1930s big band rhythm guitarist, as well as a specialist in angular contemporary music. In truth Bailey formulated this style through constant improvisation and selective references to what sounds preceded his. Ultimately the most fitting triumph of the CD is that on it he resembles no other guitarist but himself.
 
Ken Waxman

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Blue Mercer The Andrew Scott Quintet Sackville SKCD2-2066

 
With the exception of two originals by the leader – a lullaby and a blues number – the program here is made up of songs written, in whole or in part, by the inimitable Johnny Mercer. The fine young guitarist Andrew Scott fronts a recording group that has Randy Sandke on trumpet, Mike Murley, tenor saxophone; Bernie Senensky, piano; Louis Simao, bass, and Joel Haynes on drums. The band is tight enough to pass for a working group. Since the music is unrepentantly mainstream in style, it’s interesting to hear how well the more forward-looking participants present accommodate themselves.
 
The leader’s playing is a delight. Scott never hogs the spotlight but his buoyant pulse can be felt throughout. In his beautifully constructed solos one can hear the influence of Barney Kessel and Kenny Burrell. And traces of Wes Montgomery turn up in spots as well. But Scott is by no means a copyist. With his assured, yet relaxed, playing he has become his own man. His eminent sidemen are the icing on the cake. In the front line, Randy Sandke’s warm, brassy trumpet blends beautifully with Mike Murley’s agile tenor. And the rhythm team of Bernie Senensky (who, I must say, sounds completely at home in the swing setting), Louis Simao and Joel Haynes bring a ball-bearing mobility to the proceedings. Highlights include the Latin-tinged Tangerine, Have a Heart, This Time the Dream’s on Me, and Andrew Scott’s original, Blue Mercer.
 
Highly recommended.
 
Don Brown

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At This Time Kollage Timely Manor TM115-02

 

 
Toronto has long had a reputation for being strong in the bebop tradition and this outing by Kollage, recorded at The Old Mill in Toronto for JAZZ.FM91’s “Sound Of Toronto” jazz series, amply demonstrates that the line continues.
 
Co-led by Archie Alleyne and Doug Richardson, the band is a good mix of experience and new-fledged talent with Alexis Baro on trumpet, Mei Kelly on trombone, Ron Johnston on bass and Robi Botos, piano. Alleyne, plainly a disciple of Art Blakey, has nevertheless a distinctive style of his own and has made his mark on the Toronto scene, as has his musical partner, Doug Richardson.
 
There are two originals - an earthy Bloo-C-Groove by Baro and Archie Meets Art by Bill King. The remaining seven numbers are jazz standards by Donald Byrd - At This Time; Horace Silver - Lonely Woman, which is a feature for trumpeter Alexis Baro; Kenny Drew - Add-Dis-Un; Louis Alter/Bob Russell – Circus; Benny Golson - Are You Real?; Wayne Shorter - On The Ginza; and for good measure, Ill Wind, a neglected song by Harold Arlen and Ted Koehler, which gives Doug Richardson a chance to show off his considerable solo skills. His is a voice worthy of more recognition.
 
Everybody chips in with enthusiasm and there is an abundance of strong solo work, more than making up for the occasional rough edge which is sometimes found in a live performance.
 
Jim Galloway

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Code Breaking Tara Davidson Independent TD-06 (www.taradavidson.ca)

 

 
Saxophonist Tara Davidson has released her third CD, “Code Breaking”, and for someone of her tender years - she’s not yet out of her twenties - it is quite an accomplishment. This is especially true because she doesn’t cover other people’s tunes or rework old standards. The songs on this disc are all of her own making and, for the most part, they are swingy, boppy (or is that post-boppy?) and accessible. There are a couple of slower, contemplative songs, most notably Black Night Blue, a tango which manages to convey both the air of restraint and dark emotions roiling beneath the surface that typify tango.
 
Ms. Davidson favours the soprano sax on this disc, though the alto makes many appearances as well, and she has a bright sound and lyrical presence on both. David Braid turns in his usual highly-skilled, inventive and melodic work on keys - an interesting mix of acoustic and electric pianos (Fender Rhodes, Wurlitzer...) which add welcome variety. The Prophet electric piano is an especially clever choice on Jig for Joshua (Redman) as it blends so well with the soprano sax. Michael McClennan and Ernesto Cervini support ably on bass and drums and Mike Murley lends his considerable tenor sax skills to many of the tunes.
 
Ms. Davidson can be seen regularly playing in Toronto in the dwindling number of jazz clubs like the Pilot and the Rex, both with her own ensembles and others’.
 
Cathy Riches

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No One Else But Kenny Kenny Davern Trio Sackville SKCD2-3069

 
Clarinet trios - clarinet, piano, drums (no bass) - have been surprisingly popular in jazz. Producer John Norris cites nine examples ranging from Johnny Dodds in the ’20s through Benny Goodman in the ’30s, Pee Wee Russell in the ’40s and Darnell Howard in the’50s. Kenny Davern, a highly skilled player and one of the most interesting clarinettists on the scene today, is completely at home fronting such a group. His colleagues, David Boeddinghaus, piano and Trevor Richards, drums, fit hand-in-glove with Davern in a program made up, in the main, of what Louis Armstrong used to call “good old good ones”.
 
Blessed with technique, Davern never allows it to get in the way of inspiration. With his lovely rounded tone, which is especially woody in the lower register, he breathes new life into material we’ve heard hundreds of times before. Pianist David Boeddinghaus’ style could best be described as barrelhouse, but he’s obviously listened closely to modern players as well. His playing, which is full of surprising twists and turns, certainly keeps the leader on his toes. The trio’s drummer, Trevor Richards, plays in the classic New Orleans style picked up from his mentor, the great Zutty Singleton. He provides the perfect rhythmic pulse for this splendid trio.
 
Highlights include Sugar, on which we hear Davern’s stylistic bow to one of his original influences, Pee Wee Russell, and DBR Rag, a bluesy original that sports some down and dirty playing from the leader.
 
Don Brown

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Zhen - David Braid Sextet Live Volume II David Braid Sextet Independent DB20060906

 
This is pianist David Braid’s third Sextet CD, and like the previous one, is a performance recording at the late Toronto jazz room Top O’ The Senator, though from a different engagement of this all-star band.
 
Six of the seven selections are Braid originals (the closer is Coltrane’s Giant Steps) which show the range of his interests, from blues to melancholic ballads to world music. And it should be noted that the music works as well as it does because of the very effective Braid arrangements.
 
Bassist Steve Wallace opens the disc with a lengthy intro to Fishers of Men, a funky Blue Note-like hard bop blues. Mike Murley’s tenor is featured on the atmospheric Lydian Sky, followed by John McLeod’s flugelhorn on Temptress, a composition inspired by the music of Freddie Stone, the Toronto musician honoured by the pianist on an earlier CD “Set In Stone” with George Koller and Lorne Nehring.
 
Trombonist Gene Smith gets upfront room on the jocular Dance of the Zinfandels and the sober Spanish-influenced Andalusia. Sai Kung reflects the spirit, rather than the sound, of Hong Kong in which finally, finally, the modest Braid himself is heard as the upfront soloist, pushed along by the always-creative and supportive Terry Clarke on drums.
 
Murley, on soprano sax, and Braid get the largest part of a reshaped Giant Steps which focuses more on the melody of the Coltrane exercise than its harmonics.
 
The continuing development of David Braid’s many talents is something for jazz fans to keep an ear on. An independent release, availability of this CD is guaranteed from www.davidbraid.com
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Ted O’Reilly

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Winter Wonderland Emilie Claire Barlow Independent EMG 442 (www.emilieclairebarlow.com)

 
It is very gratifying as a reviewer to witness an artist’s growth. Emilie-Claire Barlow has always been an excellent singer - one of the best in Canada - but where she is really coming into her own is in her arranging and producing skills. The arrangements, some including strings, on all of the ten tracks on “Winter Wonderland” have been handled masterfully by Ms. Barlow. The songs are familiar, mostly upbeat, pop tunes - a few Christmas and the rest “winter” tunes that are commonly heard at Christmas. Jazzy phrasing and variety in the instrumentation make this a very pleasant listen.
 
On the title track we are treated to Reg Schwager on guitar deftly carrying the harmonic and rhythmic ball, and the sparse arrangement showcases Ms. Barlow’s vocals beautifully. The other treat on this track and on Christmas Time is Here is the interplay between voice and sax, the latter courtesy of local luminary John Johnson. That ode to materialism, Santa Baby gets a cute, sex treatment, and Little Jack Frost is a fun surprise, with its boppy, improvised vocal section in the middle, accompanied only by Keiran Overs’ walking bass line. The standout track is I’ve Got My Love to Keep Me Warm. The lush, dark string parts contrast strikingly with the bossa nova base.
 
The rest of the band, Nancy Walker on piano, Mark Kelso on drums and guitarist Rob Piltch, provide skilled, sensitive support. This holiday disc would be a fine addition to anyone’s collection.
 
Cathy Riches

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Journal Bridge 61 Atavistic ALP172CD

 
Raucous and other-focused, “Journal” is yet another entry in Chicago saxophonist Ken Vandermark’s ever lengthening discography. Largely concentrated on low pitches, the instrumentation on this notable 72-minute, eight-track CD is completed by Jason Stein’s voluminous bass clarinet timbres, Nate McBride’s resonating acoustic and electric bass fills and Tim Daisy’s chunky percussion strokes.
 
Playing tenor and baritone saxophones, Vandermark’s most common strategy consists of arduous snorts and vamps – one part glottal R&B honks, the other altissimo Free Jazz shrills. The other players respond, expand or moderate the attack. Thick strums and funky thumb pops from the bassist define the groove on more rhythmic numbers, while acoustically McBride outputs woody bass slaps. Spectacular in his drum displays, Daisy references vigorous backbeat ruffs and rolls along with subtle shuffles, rim shots and kettle drum approximations – doubling or halving the tempo at will. When not gurgling basement split tone runs, Stein often uses pitch-sliding trills for melodic double counterpoint with Vandermark’s saxophones or clarinet.
 
Defining composition is Daisy’s episodic, 11-minute Dark Blue, Bright Red. Putting aside unsubtle pedal-point textures, and playing straight clarinet Vandermark’s deep sighing breaths and split-tone obbligatos unite for polyphonic episodes with sawing spiccato strings and patterned drum thumps. Propelled to a crescendo by the composer’s nerve beat stick work and wood block patterns, the tune eventually downshifts into a finale of gentling reed harmonies.
 
Ken Waxman