JAZZ AND IMPROVISED – Reviewed in Magazine

Two for the Road Arlene Smith; Mark Eisenman Independent RDRCD9596 (www.arlenesmith.ca )

Intimately recorded in the Loach home studio, this recording brings veteran singer Arlene Smith and piano powerhouse Mark Eisenman together for a lovely lounge session with simply voice and piano accompaniment. Even without a rhythm section, Eisenman’s playing is a model of consummate taste, providing plenty of solid rhythmic and harmonic support for Smith’s easy-going smooth delivery.
 
Without the distraction of larger forces, one can easily appreciate this duo’s artistry and also the beauty of the great representation of songs, both well-known and less-familiar, including numbers by Gershwin (But not for me), Ellington (Do nothin’ ‘til you hear from me), Porter (Down in the depths on the 90th floor), Kern (Remind me), Mancini (Two for the road), and others.
 
With this particularly well-suited repertoire, Smith croons with a worldly sincerity, especially in the ballads, like I can’t get started (written by Vernon Duke and Ira Gershwin) and Skylark (a collaboration of Hoagy Carmichael and Johnny Mercer), which exude that warm feeling of being written especially for her. Such a beautiful fit. Having said that, she also demonstrates a gutsy sassy side in the bluesy swinging Baby, Baby, don’cha go ’way mad. This recording is full of pleasant surprises.
 
Frank Nakashima

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Rio Bossa Paul Donat; Mike Murley; Kevin Turcotte Independent BM 170107 (www.pauldonat.com )

 
Like many North American musicians before him, bass and guitar player Paul Donat is having a love affair with Brazilian music, specifically, bossa nova. This sensual, rhythmic music has a way of getting into a person’s blood and staying there, and it first infected North America in the early ’60s, when Stan Getz made a hit out of Jobim’s Desafinado. But it’s not a one-way street. North American music – jazz and blues – has helped shape bossa nova, too, and what we get is the best of both worlds; complex harmonies, Afro-Caribbean rhythms and melodies ideally suited to soft, vibrato-free voices, breathy sax and nylon-string guitar.
 
Donat has written all eight tunes on the disc and he is heavily indebted to Jobim and the newer masters of traditional bossa, with whom he played and studied during his years living in Rio de Janeiro. Donat shares vocal duties with Claire Shaw, the resultant interplay reminiscent of Joao and Astrud Gilberto. Mike Murley brings his considerable tenor sax skills to a number of the tunes, most notably the high energy Breakfast Samba, while Evan Shaw turns in an appropriately restrained alto performance on Ipanema Breeze. Kevin Turcotte on trumpet and flugel horn, Gord Sheard on piano and Alan Heatherington and Anil Sharma, who take turns on drums and percussion, round out the band. In all “Rio Bossa” is a fun, jazzy trip to the clubs and beaches of Brazil.
 
Cathy Riches

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Sing In Me Muse Michael McClennan Independent MM2007CD (www.michaelmcclennan.com )

 
An accomplished bassist and recently named the SOCAN/IAJE Emerging Composer, Calgary native Michael McClennan has put forth a fine effort with his debut CD “Sing in Me Muse”. The fine cast, (featuring Tara Davidson, Kelly Jefferson, Pol Cousse, John MacLeod, William Carn, David Braid and Sly Juhas) churns out primarily original tunes by McClennan, with the inclusion of two “standards” – a quirky take on the Lerner and Lowe classic, On the Street Where You Live and a languid and sensual interpretation of the rarely performed Jimmy Dorsey ballad, I’m Glad There is You – both highlights on this dynamic, self-produced recording. 
 
  Other stand-outs include the joyous Celtic-flavoured title track, featuring solid, full-throttle work from Kelly Jefferson on tenor and Tara Davidson on soprano, the inspired tribute to Benny Golson, Good as Golson (with seamless and swinging performances from the ensemble), and the down and funky closer, Mr. D’s New Shoes.
 
 Mike McClennan possesses a gorgeous bass sound – fat, resonant and melodic – which makes me wish that perhaps there had been a few more bass features — but perhaps Mike was more interested in the development of his material utilizing a tight group format, than he was in presenting himself as a soloist. 
 
  McClennan’s compositional style is complex and emotionally turbulent, reminiscent of the great Gil Evans (particularly Gil’s “Nonet” period).  His compositions are not just tunes, but melodic journeys. However, at a certain point, even with the inspired arrangements and top-flight musicianship a hint of sameness was palpable. Nonetheless, Sing in Me Muse is a work of complex beauty, and Michael McClennan is one of the most interesting bassist/composers on the scene today.
 
Lesley Mitchell-Clarke
 
Concert Note: Tara Davidson is featured in the CAMMAC Sunday Concert Series at the McMichael Art Gallery on June 17.

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Noh   François Carrier Quartet   Ayler Records ayl DL027 (www.ayler.com)

Extending and expanding in-the-moment improvisations over more than 67 minutes, François Carrier’s quartet creates five memorable tracks while negating the old cliché about Montreal-Toronto rivalry.
 
  Although three of the four musicians are Montrealers – drummers John Heward and Michel Lambert plus alto and soprano saxophonist Carrie – the fourth is Hogtown guitarist Reg Schwager. More surprising is the plectrumist’s inclusion, in that he usually works the mainstream side of the street.
 
 Here however, especially on the more-than-20-minute Noh Three, Schwager’s knob-twisting distortions, heavy down strokes and serpentine note placement perfectly match the expositions of the other three, who singly or in tandem have experience with such outside players as saxophonist Steve Lacy and pianist Paul Bley. When, for instance, Schwager’s slurred picking stretches his strings every which way, Carrier responds with supple, heavily vibrated counter tones and tongue-fluttering. For their part, the percussionists limit themselves to full-bore thumping accented with bell-rattling.
 
Moving from thin-toned soprano sax trills to full-bodied alto split tones and reed slurs, Carrier’s inventive timbres often invoke Carnatic as much as Cool jazz styling. His sprightly legato lines sometimes call forth dual backbeats from the drummers, while squeaky reed interludes demand hearty electronic reverb from the guitarist.
 
“Noh” is also quintessentially Canadian in that this Montreal-recorded session can only be purchased by downloading it from a Swedish label’s Web site (URL above). Classily, the buyer can also download full-colour art and complete notes along with the music.
 
Ken Waxman
 
Concert Note: Reg Schwager performs at the Mezzetta Restaurant on June 27 & 30.

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JAZZ AND IMPROVISED – Exclusive to the Web

The Magician - El Mago Sammy Figueroa & his Latin Jazz Explosion Savant SCD 2079

Prominent, versatile, and accomplished percussionist Sammy Figueroa’s latest release entitled “The Magician” evolved from informal afternoon jam sessions into a completed work of remarkable quality, strength and sophistication.
 
 
Figueroa draws considerably on the writing and arranging talents of two members of his Latin Jazz Explosion, pianist Silvano Monasterios and electric bassist Gaby Vivas. Their original compositions include The Three Marias, the title track The Magician, Crossroads and Festas do Norte.
 
Saxophonists John Michalak and Troy Roberts along with trumpet players Alex Norris and John Lovell contribute consistently high-caliber improvisations in addition to fluid piano solos by Monasterios and a stunning bass solo by Nicky Orta on the fourth track, Cedar Walton’s Firm Roots. Figueroa also does Latin renditions of Together by Hubert Laws, Gregory Is Here by Horace Silver, and Miles Davis’ Seven Steps to Heaven.
 
 
The sound, energy and feel of the ensemble could easily win over new listeners to the already world famous Latin Jazz genre while earning continued respect and admiration from seasoned listeners and musicians with its complex arrangements and authentic treatment of Salsa, Cha-Cha, Latin-Funk and even bebop rhythms undoubtedly influenced by the afternoon sessions which gave birth to this CD.
 
 
Maybe “The Magician” (El Mago) will earn a second Grammy nomination for Sammy Figueroa and his Latin Jazz Explosion.
 
 
Eli Eisenberg

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Sunshine of My Soul Jaki Byard HighNote Records HCD 7169

 
Why don't I just cut to the chase and suggest that you go out and buy this CD. If you are an aspiring young musician, or simply a receptive listener, here is a short journey through the history of piano jazz by one of the great players, sadly, to a large extent lost in today's shuffle. Jaki (John) Byard (June 15, 1922 – February 11, 1999) was a true jazz player and composer with an eclectic approach incorporating everything from ragtime and stride to free jazz. All the ingredients are there - a mastery of all the styles with the understanding and technique combined with a wicked sense of humour which gave him a sound that was completely his own. Incidentally, he also played trumpet and saxophone and I have a lasting memory of him playing piano and saxophone simultaneously during a broadcast of "Toronto Alive".
 
But here it is all solo piano with a choice of material which reflects his catholic taste - originals like the opener, Tribute To The Ticklers which acknowledges the great stride players, an atmospheric Hazy Eve and European Episodes, a tour-de-force which closes the CD. There are seven originals interspersed with a grab bag of material ranging from an esoteric Besame Mucho to the Blood, Sweat And Tears hit Spinning Wheel via a Charles Mingus medley!
 
This is a masterful programme of music played by a giant of jazz.
 
Jim Galloway

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Zoot Suite Zoot Sims HighNote Records HCD 7170

 
The release of this 1973 private recording – thought to come from an appearance in the Caribbean – was approved by Zoot Sims’ widow who claimed this to be her late husband’s favourite band. Jimmy Rowles is on piano, with George Mraz, bass, and Mousey Alexander, drums. Be warned though, the recording is far from professional. Producer Joe Fields openly admits that it “requires a bit of patience by the listener”, but he’s also absolutely correct when he says “the quality of the music and its historic significance far outweigh any sonic limitations.” Sims, one of the most swinging of tenor saxophonists, is totally at ease here, and once you adjust your ears to the less than perfect balance (the piano’s off-mike and the drums too up-front) it’s easy to become seduced by his ultra-relaxed storytelling ability.
 
Few listeners seem to realize that Zoot’s earliest influence was Ben Webster, not Lester Young. Three of the set’s four Ellington titles give Zoot a chance to pay tribute to his early mentor. On Rockin’ in Rhythm he switches to soprano, an appropriate choice for this vintage number. And the group has great fun with a couple of Fats Waller classics, Jimmy Rowles really knocking Zoot out with his work on Honeysuckle Rose. On Tickletoe, Zoot salutes his second great influence, Lester Young. A gorgeous interpretation of My Old Flame and an extended blues wrap things up nicely. Fine music trumps poor sound.
 
Don Brown

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Human Songs New Lousadzak émouvance emv 1025 (www.vergemusic.com)

 
A prime example of what could be called POMO Romanticism, the French octet New Lousadzak – distinctly named with an anagram of the members’ names – has created a notable CD with “Human Songs”. An ensemble formed in 1994, the band’s expansive instrumental prowess and pan-tonal sound textures manage to meld total improvisation with lyrical, sometimes vocalized dynamics that in the Gallic style reference traditionalism as much as experimentation.
 
Médéric Collignon gives voice to much of this, since, when he’s not spiking triplets with his pocket trumpet, he’s scatting or yodeling nonsense syllables over contrapuntal vamps from saxophonists Daunik Lazro and Lionel Garcin, plus the steadying pedal point of tuba player Daniel Malavergne. If Collignon provides the rustic melodiousness for the two suites that make up the session, then atonal slurs and irregular pitches mark the sax solos. With their distorted, highly electronic note sprays, guitarists Rémi Charmasson and Raymond Boni add unexpected contrapuntal dynamics to many tracks already bursting with polyphonic extensions; so do the wailing Balkan harmonies from Claude Tchamitchian’s bass and the concussive scrapes and ratcheting of Ramon Lopez’s oddball percussion.
 
 
Still, the humanistic balancing act is maintained throughout. Often, if it appears that extended instrumental techniques are going to push tunes into the miasma of rubato atonality, a vocal chorus or a powerful ostinato from Malavergne, Tchamitchian and Lopez shove the music back to a march tempo that would have been familiar on a Napoleonic parade ground. (Video of the band performing live also is embedded on the disc.)
 
Ken Waxman