Canadian Wonderlands

 

Carn Davidson 9, the brainchild of trombonist/ composer William Carn and multi-reed player/ composer Tara Davidson (they are also husband and wife), has been in existence for a decade.  Composed of nine of the busiest musicians and educators in the Toronto, Canada, area, the nonet (see personnel below) features three reeds, four brass, and bass and drums, but no chordal instruments.  The intelligent compositions and arrangements spread the warm sounds of the brass and reeds across the sound spectrum with rich melodies and harmonies that pull in the listener.  Kudos also go to the splendid rhythm section –– bassist Andrew Downing and drummer Ernesto Cervini –– for their great support, enthusiastic as well as musical playing, and sensitivity in propelling the "little big band". 

The nonet's third album, "The History of Us" (Three Pines Records), consists of two three-song suites plus one composition by Carn dedicated to the late Murphy the Cat who is positioned in the middle of the album cover.  The trombonist's "Finding Home Suite" (Pt. 1 – "A New Life") opens the recording in a ballad tempo led in by the flutes and clarinets with the brass and supportive reeds on either side of the sound spectrum.  Kevin Turcotte creates a fine trumpet solo in the middle, reminiscent of the sound and style of the late Kenny Wheeler. The opening brass and reeds fanfare of "A Mother's Song" has the richness of a Bob Brookmeyer arrangement–– as the song progresses, the trumpets open the melody then share it with the reeds and trombones.  The suite closes with "Home" with the baritone saxophone and low tines leading the way to the melody. The emotion of the melody pushes the piece forward to a bluesy and powerful baritone sax solo from Shirantha Beddage that fills the mid-section of the nearly nine-minute piece.  The reeds follow with a repetition of the melody that builds in intensity until a solo trombone line slows the piece down, producing a lovely coda.

As the album title suggests, this is a very "family-centric" program with songs by both co-leaders dedicated to parents (and, yes, the late family cat).  The music is impressionistic but nearly always with a calm center.  On ""Swept Out to Sea (For Dad)", the sweep of the brass and reeds as well as how Kelly Jefferson's tenor sax solo steps out is reminiscent of Maria Schneider's "open sounds" –– the sharp but not harsh brass sounds and the warm reeds blend fill in the musical portrait.

"The History of Us" is a powerful yet mentally soothing program from Carn Davidson 9.  Powerful because the songs and the performances are so heart-felt and soothing because in these uncertain often frightening times, we need "us" more than ever.  To find out more, go to www.threepinesrecords.ca/home/carndavidson9.  To hear, watch, and purchase the album, go to https://carndavidson9.bandcamp.com/album/the-history-of-us. 

Listen to "A Mother's Song", the second Movement from the "Finding Home Suite":

Personnel:

Tara Davidson – alto & soprano saxophones, clarinet (track 4), flute, piccolo
Kelly Jefferson – tenor & soprano saxophones, clarinet (track 1)
Shirantha Beddage – baritone saxophone & bass clarinet
Jason Logue – trumpet & flugelhorn
Kevin Turcotte - trumpet & flugelhorn
William Carn – trombone & bass trombone (track 4)
Christian Overton – bass trombone
Andrew Downing – acoustic bass
Ernesto Cervini – drums & percussion

Multi-instrumentalist, composer, arranger, and bandleader Don Macdonald lives in Nelson, British Columbia, Canada (located 410 miles to the east of Vancouver, BC and 387 miles southwest of Calgary, Alberta, Canada) where he teaches in the Contemporary Music and Technology Program of Selkirk College Contemporary Music and Technology Program. His musical life is delightfully eclectic having composed operas, choral works, movie soundtracks, played in jazz and rock bands plus has worked in World Music settings.  

His latest album, "Shifting Sands" (self-released) is a collection of nine original instrumentals with a group of musicians from or based in Canada plus mandolinist Jason Anick from Boston, MA.  Macdonald plays violin throughout (he's also a saxophonist); besides his fine musicianship and that of his colleagues, it's the musical settings he creates that catch the ear. Yes, this is "fusion" music but with a twist in that the melodies and rhythms get in your ears and stay there. Whether it's the jazzy drive of the title tune or the flamenco-inspired drive of "La Tormenta" (great solo from guitarist Mike Rud) or the flowing melody of "Atacama" or the joyous bounce of "Bayou" (a Crescent City hoedown at its best), the music wraps the listener in its creative embrace (leaving your feet free to dance!).

"Shifting Sands" is an apropos title in that every song stands out from the other yet the program never feels forced or slick.  There are moments that remind this listener of the fusion music violinist Jean-Luc Ponty created through his career (also hear Ponty in Macdonald's tone). Need a musical pick-me-up?  Play this new recording Don Macdonald and your mood is sure to turn brighter!

For more information, go to https://donmacdonaldmusic.com/.  To hear more and purchase the album, go to https://donmacdonald.bandcamp.com/album/shifting-sands. 

Put on those dancing shoes – here's a taste of "Bayou": 

Personnel:

Don Macdonald - violin/composer/producer
Dave Restivo - piano
Mike Rud - guitar
Steven Parish - drums
Rob Fahie and Jill McKenna - upright bass
Jason Anick and Dylan Ferris - mandolin

Israeli-born pianist, composer, and educator Noam Lemish has issued his second solo piano album, "Erlebnisse" (self-released) but his first with all-original music.  Lemish, who is Assistant Professor of Jazz Instruction and Pedagogy in the Music Department of York University in Toronto, came to the United States, specifically to the San Francisco Bay area, to study music with and perform with W.A. Mathieu and percussionist George Marsh. He co-leads a quartet with Israeli oud player Amos Hoffman and they play original tunes as well as songs from their native land.  Lemish is also the co-director of the Israeli-Iranian Musical Initiative, an ensemble based in Toronto that plays music from both countries with musicians that come from that area of the world.   

"Erlebnisse" can mean "deeply felt experiences" (in conversation, the pianist hinted that translation does not totally the convey the power in the word) – in that spirit, the 16 improvisations that make up the program reflect the various life experiences that Lemish has encountered. Dedicated to Mathieu, the pieces range from dramatic to quiet to nearly without form to quiet rumination and more.  There are myriad musical references but mostly, this is the pianist connecting his inner world to the piano keys. What one hears in  this music is Lemish's sense of wonder, his love of exploration, and who he was at the time of and on the day of the recording.  Shed your own expectations, step into the pianist's world, and listen. Be open. Be vulnerable.
Noam Lemish can't hope for more than that.

To find out more about the artist, go to www.noamlemish.com.  To hear more and to purchase the album, go to  https://noamlemish.bandcamp.com/album/erlebnisse.  

Here is "Erelbnis 2":

 

Living Large Ensemble (July Edition)

This is a thrilling time of the summer for me in that I have time before school starts again to listen and to write. On top of that, I have a slew of large ensemble albums to dig into.

Arranger, composer, conductor, and alto saxophonist Ed Palermo (pictured left) has had quite a career. He has worked and toured with many artists including Aretha Franklin, Tito Puente, Eddie Palmieri, Celia Cruz, Lena Horne, Tony Bennett, Mel Torme, Lou Rawls, and The Spinners  He has written and arranged for the Tonight Show as well as dancer Maurice Hines.  Since 1997, he and his Big Band have been performing and recording music by Frank Zappa. Of the eight albums he has released over the past two decades, only two not have music by the late Zappa. One more splits the program between Zappa and Todd Rundgren.  He has won international praise not only for his inventive arrangements but also for exposing a larger audience to this music.

Photo: Hugh Brennan

Album #9 by the EPBB, "A Lousy Day In Harlem" (self-released), turns the spotlight on Palermo's compositions plus delightful interpretations of pieces by Duke Ellington, Egberto Gismonti, Gigi Gryce, John Coltrane, Thelonious Monk, and the duo of Renee Rosnes and Walt Weiskopf.  The 15-piece ensemble is in fine form throughout and there are a number of powerful solos including several by Mr. Palermo.  The album opens with "Laurie Frink", the leader's piece dedicated to the late trumpeter and teacher.  Despite the presence of three fine trumpeters (see personnel below), the solos are by soprano saxophonist Phil Chester and tenor saxophonist Bill Straub. Dig the splendid rhythm section work under the soloists especially pianist Bob Quaranta and drummer Ray Marchica. There's a splendid rearrangement of Gisberti's "Sanfona" including Zappa-like sounds in the harpsichord/keyboard of Ted Kooshian.  Chester's soprano solo is quite sweet over the steady rhythms.  "Brasilliance" is a spirited romp through Mr. Ellington's tune that he wrote for his "Latin American Suite" (1968).  Great solo from pianist Quaranta before the piece takes a quick turn into Juan Tizol's "Caravan" for solos from trumpeter John Bailey and saxophonist Straub.  The entire band plays hard on the delightful "Minority", the Gigi Gryce classic.  The saxophone section plays the melody and the brass join on the second time through.  The leader steps out for a spirited solo and then does a call-and-response with the sections.  Monk's "Well You Needn't" jumps out of the gate and features solos by the leader once more, trombonist Charley Gordon, and trumpeter Bailey – The arranger manages to throw in quotes from several other Monk tunes; all that and more in 3:02.  Tenor saxophonists Straub and Ben Kono introduce Coltrane's "Giant Steps" with the opening lines of "Dueling Banjos" (from "Deliverance") before the band leaps into the piece.  The tenorists each get a spotlight but don't miss the excellent electric bass work of Paul Adamy.

Regarding the Palermo originals, they are all impressive.  "Like Lee Morgan" celebrates the fine trumpeter from the 50s and 60s – this time, trumpeter Bailey gets to step out for the fine solo.  Tap dancer Nicki Denner joins the EPBB for a spirited dance on "The One With The Balloon", an evocative melody that also makes room for a solo from trombonist Gordon and a touch of accordion from Kooshian. Soprano saxophonist Cliff Lyons is featured throughout the sweet ballad-waltz "Affinity" though the brass and then the reeds get to play the handsome melody as well.

"A Lousy Day In Harlem" is Ed Palermo's satirical title take on the famous 1958 Art Kane photograph – click here – that featured nearly five dozen jazz greats and some neighborhood kids sitting on those very steps.  But the music from the Ed Palermo Big Band is no laughing matter unless you're laughing at such delightful and audacious music.  Put the disc on play, turn the volume up loud, and watch the party start!

For more information, go to www.palermobigband.com.

Personnel:

Reeds: 
CLIFF LYONS - alto sax, clarinet, soprano sax on “Affinity” 
PHIL CHESTER - alto sax, soprano sax, flute, piccolo 
BILL STRAUB - tenor sax, clarinet, flute 
BEN KONO - tenor sax, flute, oboe 
BARBARA CIFELLI - baritone sax, bass clarinet, Eb mutant clarinet 

Trumpets: 
RONNIE BUTTACAVOLI (lead) 
JOHN BAILEY 
STEVE JANKOWSKI 

Trombones: 
CHARLEY GORDON (lead) 
MIKE BOSCHEN 
MATT INGMAN (bass trombone) 

Drums: 
RAY MARCHICA 

Electric Bass: 
PAUL ADAMY 

Piano: 
BOB QUARANTA 

Keyboard: 
TED KOOSHIAN 

all arrangements by ED PALERMO (who also plays alto sax on several tracks)

Here's the Ellington/Tizol mix: 

Born in Vancouver, British Columbia, Canada, composer, conductor, and arranger Jaelem Bhate has been making a name for himself in both the jazz and classical spheres.  He's now the assistant conductor of the Vancouver Philharmonic after spending 2018 as assistant conductor of the National Academy Orchestra of Canada under Maestro Boris Brott.  His classical training includes work in New York City and Oregon plus Bhate just completed his Master of Music degree in Orchestral Conducting at the University of British Columbia. He also leads the Last Call Jazz Collective and has composed works for a large ensemble.  Judging by the amount of work he has taken on, the young man seems comfortable with his feet in both musical worlds.

Bhate's debut recording, "On The Edge" (self-released), features an 18-member ensemble made up of musicians from Western Canada many of whom have worked with the composer in the Last Call Collective and all who are busy playing and teaching. The centerpiece of the album is the four-part, 29-minute, "Pacific Suite", a celebration of the composer's life in British Columbia. "Part I: Straits and Narrows" is a lively evocation of life in the edge of the North American continent with the melody and harmony shared by the reeds and brass while Andrew MacDonald (piano), Jacques Forest (bass), especially Duran Ritz (drums) pushes the music forward. Forest's unaccompanied opens "Part II: Weeping Skies" – his phrases remind this listener of Charlie Haden. The piano and guitar (Ricardo Halabi) enter next and then the entire band enters playing the handsome melody.  "Part III: Uninhabitation" opens with a somber brass chorale before a lovely ballad takes shape – one can picture the composer deep in the forests of the Province listening to the quiet all around him.  The closing section, "Sea of Glass", has a bluesy feel, a lively shuffle rhythm, and sweet melody line before moving into the solo section.  

The other pieces on the album each have standout moments.  Guitarist Halabi gets to strut his stiff on "Strung Along" as the band digs into the blues-rock feel.  "Wishful Thinking" has a delightful alto sax solo (unidentified) and impressive sectional writing. The lovely mix of reeds and brass usher in the sweet ballad "When I Was Loved", a song that also features an emotional trumpet melody and it's that trumpeter (possibly Michael Kim) who leads the way through the piece. One can hear the influence of Thad Jones on this piece.  

From the exciting title track that opens the album to the uptempo lullaby "You Will Be Ok" that closes it, "On The Edge" is an impressive statement from a young composer who is just beginning to find his voice.  That written, this debut recording from Jaelem Bhate illustrates his strengths as a composer and his excellent arrangements for the reeds and brass. For more information, go to www.jaelembhate.ca.  

Personnel:

Brent Mah, Mo Miao, Steve Kaldestad, Ardeshir Pourkeramati, Adam Kyle: saxophones
Michael Kim, Jocelyn Waugh, Daniel Hersog, Silas Friesen: trumpets
Kevin Jackson, Cam Henderson, Sean Lavigne, Sharman King, Louis Lam: trombones
Andrew MacDonald: piano
Ricardo Halabi: guitar
Jacques Forest: bass
Duran Ritz: drums

Jaelem Bhate: compositions

Here's one of the fine pieces on the album:

Large Ensemble (April 2019)

Trumpeter, composer, arranger, and educator Paul Dietrich splits his time between Chicago, IL, and Madison, Wisconsin, where he has been playing as well as directing the Madison East High School Jazz Orchestra.  As a leader, he has issued two Quintet disks: if you have access to that music, you can hear the roots of his third album "Forward" (self-released).  Credited to the 19-piece Paul Dietrich Jazz Orchestra featuring Clarence Penn, the music is a splendid band of strong melodies, lovely harmonies, excellent solos, and intelligent arrangements.  The Orchestra (see personnel below) is composed of musicians from both Chicago and Madison (the leader has groups in both cities), some of whom are among the most in-demand players in the Midwest. Dietrich reached out to New York City-based Clarence Penn to round out the rhythm section for several reasons, not the least of which is the drummer's work with the Maria Schneider Orchestra.

You can hear Ms. Schneider's influence on the compositions and in the way the arranger paints the arrangements around the solos.  Only three of the eight tunes have more than one soloist - each of those cuts has two.  And there are several stunning spotlights.  Trumpeter Russ Johnson is featured on the album opener "Rush" and on "Forward: I. Perennial" : it's such a treat to hear him rise above the sections and Megan Moran's wordless vocals.  Alto saxophonist Greg Ward, who seems to be on every album out of Chicago, is featured on two stunning ballads. He leads the orchestra in on "Settle" before stepping out for a beautiful and richly emotional solo.  Ward's other spot is on "Forward: II. Snow", a piece that is so evocative of standing at a window on a cold winter night watching the snow settle on the neighborhood. The alto saxophonist plays gently in the alto's higher ranges. Pay attention to the incredible percussion and Carl Kennedy's gentle piano backing.

Tenor saxophonist Dustin Laurenzi (Twin Talk) stands out on the lovely "Chorale" whose opening saxophone chorale is reminiscent of Ms. Schneider's "Sky Blue." Different voices within the ensemble play the song's main theme through the opening two and-a-half minutes. Laurenzi begins with just Penn, guitarist Matt Gold, Kennedy, and bassist John Christensen in support.  As he tells his "story", the brass and reeds begin to filter in the background playing long chords which leads back to the opening theme. The other feature for the tenor saxophonist is the up-tempo "Forward: III. Roads" - the piece opens on a Burt Bacharach-style rhythm and Laurenzi does not step out until halfway through the piece.  Again, it's a spare piano-guitar-bass-drums backing underneath Laurenzi's spiraling lines. It's just those five musicians for the first two minutes but soon the brass, reeds, and voice begin to make their presence felt.

If you are an aficionado of modern big band/large ensemble music, go find "Forward."  Chances are good that you do not know the name or the music of Paul Dietrich but this album will make you smile, perhaps remember days of walking through fields or through the wooded areas with the sun ship through colorful leaves.  The leader/composer plays on only one track - the beautiful "Forward: IV. Green Fields", playing a solo that is filled with heart and emotion.  His brilliant use of Megan Moran's voice as part of the ensemble adds an ethereal feel throughout the program (she appears on all but one song) is an inspired touch.  Find a comfortable chair put this music on your player, relax in the glorious sounds, and allow your emotions to range free.   This album has been become a constant in my large rotation of weekly CDs and I have no reason to replace it as I hear something different each time through.

For more information, go to www.pauldietrichjazz.com.

Personnel:

Paul Dietrich - trumpet and compositions 

Corbin Andrick - alto saxophone, clarinet, flute, soprano saxophone 
Greg Ward - alto saxophone 
Tony Barba - tenor saxophone 
Dustin Laurenzi - tenor saxophone 
Mark Hiebert - baritone saxophone, bass clarinet 

Andy Baker - trombone 
Jamie Kember - trombone 
Kurt Dietrich - trombone 
Tom Matta - bass trombone 

Chuck Parrish - trumpet 
Russ Johnson - trumpet 
Jessica Jensen - trumpet 
David Cooper - trumpet 

Megan Moran - voice 
Matt Gold - guitar 
Carl Kennedy - piano 
John Christensen - bass 
Clarence Penn - drums 

Here's a track from the four-part "Suite" that closes the album (soloist is tenor saxophonist Dustin Laurenzi):

It's rare you find a Canadian jazz musician who is based in Calgary, Alberta, Canada - actually, it's rare that I receive a recording from one. Saxophonist, composer, and arranger Jim Brenan was born and raised in Edmonton, Alberta, studied jazz as an undergraduate at St. Francis Xavier University in Nova Scoti, then on to Rutgers (the State University of New Jersey) where he studied with Ralph Bowen and earned a Masters in Jazz Studies. During his time of study, he played with Kenny Barron, Kenny Wheeler,and Randy Brecker. After graduation, Brenan played lead tenor in Maynard Ferguson's Big Bop Nouveau Band.  Before returning to his native Canada, he taught at the University of Aukland in New Zealand.  Since 2004, he's been the Chair of the Theater, Speech, and Music Performance at Mount Royal University in Calgary.

His third album as a leader, "50/50" (Death Defying Records), is credited to the Jim Brenan 11 featuring Chris Andrews (Fender Rhodes, clavinet). The undectet for this album is actually a duodectet (see Personnel below) and is composed of four reeds, two  trombones (including the leader's brother Craig), two trumpets, and four person rhythm section.  Much of the program is quite funky and soulful thanks to the powerful drumming of Jamie Cooper, the electric bass of Rubim De Toledo, and Andrews's electric keyboards.  Songs such as the title track and the closer, "Ozark Mountain Cougar Fightin'" absolutely kick butt, the former featuring Andrews on a lengthy solo and the latter a saxophone dialogue between the leader's tenor sax and the alto of Sean Craig or Mike Gardner.

In many ways, Brenan's music and arrangements take the cues from the fusion music of the 1970s and 80s. There's more than a hint of Weather Reprt's "Sweetnighter" in the beats that permeate "Empress." "Hiding Place", a ballad that may remind some of Earth, Wind, and Fire, has quite the r'nb feel - dig the way the baritone sax joins the bassist as the two musicians hold down the bottom.   "Fant-O-Max" also has the feel of a Joe Zawinul. After the tension of the opening interaction of the reeds and brass against the drums, Brenan's soprano solo rises up and over the Cooper's driving beat. The Rhodes solo dances between the stereo channels and atop the powerful rhythms.

"Colossal Suite" is an episodic adventure as well as the longest track on the program  (11:14). After the trombone leads the piece in, the song has a thudding rhythmic drive a la heavy metal rock (De Toledo's bass creates the thud while Cooper's drums dance excitedly).  The next chapter of the "...Suite" is introduced by rollicking riff played by the ensemble before an uncredited alto sax solo. The rhythm section takes the piece with Andrews's "space" Rhodes joining the powerful bass-and-drums towards the finish line.

Jim Brenan learned several lessons from his mentors.  His time with Maynard Ferguson taught him how to rev up and audience and playing alongside Randy Brecker showed his that jazz can be funky and funk can be jazzy.  "50/50" is an album to be played loud so that the power generated from musicians can get you moving.  Solid solos, smart arrangements, and an excellent drummer (Jamie Cooper's tenure with the 35-member Royal Canadian Artillery Band certainly taught him how to be heard in a large ensemble) all coalesce to make the Jim Brenan 11 an enjoyable listening experience.

For more information about Jim Brenan, go to www.deathdefyingrecords.com/jim-brenan.

Here's the opening track:

Jim Brenan 11 - Tiger's Milk from jim brenan on Vimeo.

Personnel:

Jim Brenan: saxophones/clarinets
Sean Craig: alto saxophone
Mike Gardner: alto saxophone
Sarah Matheson-Nadeau: baritone saxophone/flute
Craig Brenan: trombone
Carsten Rubeling: trombone
Jim Murray: trumpet
Sergio Rodriguez: trumpet
Chris Andrew: Rhodes/clavinet
Rubim De Toledo: bass
Jamie Cooper: drums
Raul Tabera: percussion