Volume 19 Issue 4 - December 2013

“Elegia por A.J.C.;” from its opening chordsstrummed on the piano strings to the finalunaccompanied keyboard tremolos; andthe spare luminous tones that open “Ode toOrujo.” Each musician is wholly engaged inthis complex, ongoing dialogue, whether it’sFiliano’s pulsing bass lines and upper registerarco explorations or Grassi’s thunderous polyrhythmsand sometimes playful sound effects.While Lerner and company work happilywithout predetermined materials, it’scomposition that distinguishes anotherpiano trio led by bassist/composer MikeDownes. On Ripple Effect (Addo RecordsAJR017 addorecords.com), Downes presentssubtle, compellingpieces that developconcentrated, evocativemoods throughslightly evasivemelodies and moodyharmonies, andhis partners here,pianist Robi Botosand drummer EthanArdelli, seem inspiredto bring every nuanceto life. The sole standardincluded, “IHear a Rhapsody,”gains a contrastingostinato thatseems to enhance theperformance’s freeflowingswing, whileDownes’ emotionallydirect, profoundlylyrical bass workcomes to the foreon “So Maki Sum SeRodila,” a traditionalMacedonian song,and on “Campfire Waltz,” an unaccompaniedsolo. Guitarist Ted Quinlan’s guest appearanceon the title track is a highlight, while the trioachieves a welling luminosity on “Two Sidesof a Coin.”Composer and saxophonist ChristineJensen presents her works in a far largerforum: her Jazz Orchestra sometimesstretches to over 20 players on Habitat (JustinTime JTR-8583-2 justin-time.com), taking inmany of Montreal’s finest musicians. Theseare ambitious works, in theme and durationas well as scale: “Tumbledown,” inspired bythe 2010 Port-au-Prince earthquake, takesits reflective tone from happier early visits,while the extended “Nishiyuu” commemoratesthe 1500-kilometre trek of six Creeyouths to protest living conditions for FirstNations people. Whether it’s the movement ofhistory, the earth, wind, traffic or a Peruvianrhythm that inspires her, there’s grandeurand nobility in Jensen’s writing, enhancedhere by the lustre of up to a dozen brass andoutstanding soloists in trumpeter IngridJensen, trombonist Jean-Nicolas Trottier andsaxophonists Joel Miller, Chet Doxas andSamuel Blais.The flute and the Hammond B-3 organentered jazz around the same time,back in the 1950s, but they enteredfrom different directions — theflute from West coast cool andLatin music, the organ fromsoul and funk. The instrumentsare heard together throughoutflute player Bill McBirnie’s FindYour Place (Extreme Flute EF06extremeflute.com), with Bernie Senenskyat the Hammond keyboard and drummerAnthony Michelli completing the trio. Whilemost jazz flute players have been doublingsaxophonists, McBirnie is a rarity, a musicianEXCEPTIONAL CDS YOU MAYNOT KNOW ABOUTAs mass media continues topromote music as anotherinstantly consumed product,the likelihood of newsounds — or even older ones — beingignored because they don’t fit thestyle of the moment intensifies.This is especially true when itcomes to improvised music. Butwith the holiday season looming,more committed listeners maybe seeking gifts for those whoappreciate challenge ratherthan comfort in their music.Here are some CDs from 2013that fit the bill. They include onesby established players, youngerstylists plus important reissues.Anyone who claims that experimentalmusic lacks emotionmust hear Evan Parker/BarryGuy/Paul Lytton Live at MayaRecordings Festival (NoBusinessNBCD 55 nobusinessrecords.com). A working trio since 1980,tenor saxophonist Parker, bassist Guy anddrummer Lytton invigorate this live set withthe combination of precision and passionreminiscent of the most accomplished stringquartet performance. Even when he isn’tdisplaying his characteristic circular-breathedmultiphonics, Parker is able to prod showpieceslike “Obsidian” and “Gabbro” to slowboilingintensity. Furthermore his instantlyidentifiable sound can be relaxed withoutsacrificing emotion. The bassist’s supplefinger movements transcend timekeepingwith guitar-like facility below the bridge andother extremities, while Lytton’s shuffles andtimed rimshots oppose or connect with eitheror both of the others’ timbres for maximumsatisfying cohesion.A decade younger than Parker, JohnButcher has refined extended saxophonewhose dedication to the flutehas shaped his musical voice. It’sapparent throughout the CD, withMcBirnie demonstrating the fluentlines, subtle rhythmic inflectionsand timbral shifts that you’remore apt to hear on a saxophone.The repertoire mixes hard bop,bossa nova, Latin rhythms andgospel, even going as far afield as the earlyjazz classic “Gee Baby, Ain’t I Good to You”and the Beatles’ “Oh! Darling.” It’s all deliveredwith infectious swing and a cheerfuleffervescence.Something in the AirLucky Seven Plus OneKEN WAXMANtechniques further. Paired withdrummer Tony Buck and eitherguitarist Burkhard Stangl orpianist Magda Mayas, Plume(Unsounds 35 Uunsounds.com)demonstrates that even whenstripped of beat and melodyunmatched vibrancy remains.Although guitar strums and drumresonance satisfactorily complementButcher’s narratives which replicatebird chirps and pinched reedsucking, it’s “Vellum,” the piano/drum/sax interface, that’s thestunner. As Buck roughly strokesdrum tops to equate cicada-liketextures or subtle accents with belltreeshakes, Mayas’ stopped pianokeys and internal string plucksprovide a sinewy challenge toButcher’s klaxon-like tones. Whenthe piano soundboard shakesand string vibrations intensifyexcitement, the saxophonistresponds with amplified growlsand snorts and the drummer withheartbeat-like thumps. Movingforward chromatically, the mood is intensifiedwith an undercurrent of restrained power.Finally as Mayas’ rummaging in the piano’sinnards gives way to pummelling strokes andButcher’s tongue slaps are replaced by violentstaccato trills, parallel release is achieved.Then same age as Butcher, French sopranosaxophonist Michel Doneda has also refinedand extended Parker’s tonal experiments.Linge (Umlaut Records umfrcd 07 umlautrecords.com)was recorded in an old barnin Eastern France to organically maximizethe spatial properties during his duetwith clarinetist Joris Rühl (b.1982). As theywork their way through seven sequences,what’s produced are distinctive improvisationsthat are as frequently created fromparallel blowing as intermingled timbres.Concentrated in the highest register of the76 | December 1, 2013 – February 7, 2014 thewholenote.com