Volume 17 Issue 5 - February 2012

the Sea, described in the liner notesas “annotated to the point of excess,”proves effective, nevertheless, in drawingMarquardt, playing alto flute, into a moreexpressive mode than elsewhere on the disc,exploring a greater variety of tone qualities,colours and dynamics.Kudos to the duo for coupling someof the better known repertoire for theirinstruments with lesser known contemporarycompositions that need to be heard.—Allan PulkerJAZZ & IMPROVISEDWaltz for BillTom SzczesniakIndependent SZC-27426-27(www.tomszcz.com)Waltz for Bill is veteran Toronto sessionplayer and arranger, Tom Szczesniak’s, loveletter to the genius of Bill Evans. It is alsothe title of his very first CD under his ownname after 40 years in the industry playingwith everyone from Anne Murray to ThadJones. Evans isn’t the only piano player tobe honoured by Szczesniak, as the late andmuch-missed DougRiley (Dr. Music)is rememberedhere both with atribute song anda cover of one ofhis compositions,Dinosaurus. Theprogressive rock/bopfusion number is a bit of an incongruity,but a palate-cleanser amidst all the earbutterscotch that comes before and after.The disc is steeped in standards and evenveers into chestnut territory a time or two,but is a class act from beginning to end.Starting with a mellow but harmonicallyfresh approach to What Is This Thing CalledLove, we get taken on a lush, lovely journeyof the likes of Gershwin and Hammersteinwith lots of strings, a bit of sax (MichaelStuart and Vern Dorge) and the occasionalvelvety vocal from Doug Mallory andCal Dodd.—Cathy RichesThere’s more at www.thewholenote.com:Sounds and Silence is a film by PeterGuyer and Norbert Wiedmer about ECMlabel founder Manfred Eicher reviewed byJohn Larocque.It’s Our JazzJazz in quebec is a vigorous element ofFrench-Canadian culture, though all tooinfrequently experienced in these parts.However, Montreal label Effendihas recently released a bumpercrop of albums by provincial stalwartsthat underscore the livelymusical health of its practitioners.One features veteran bassistAlain Bédard, who skilfully demonstrateshis roles as leader, anchor,frequent soloist andrhythmic engine of his AugusteQuintet on Alain Bédard – HomosPugnax (Effendi FND 115 www.effendirecords.com). He wrotefive of the ten tracks that includefour by bandsmen and CarlaBley’s Fleurs Carnivores, whichhe’s arranged impressively.Supported by the nimble, versatilesax of Frank Lozano (mainlysoprano), pianist AlexandreGrogg and subtle drummerMichel Lambert, Bédard has createdan enticing album full ofinterest, unusual time signaturesand sparkling work by all.It’s odd to come across a fullyfledgedband that’s only beenaround a short while yet clearlyGEOFF CHAPMANdisplays confidence and chemistry. MikeField – Ashes (MFJCD 1101 www.mikefieldjazz.com)is a pleasing quintet outing led bytrumpeter Field, a veteran ofmusical forms other than jazz,performing with tenor saxistPaul Metcalfe, pianist MattNewton, bassist Carlie Howelland drummer Dave Chan.The boss wrote all nine pieceshere, some with unconventionalstructures and all executed withconsiderable panache, though themusic’s more unblemished thanexhilarating. Field plays withauthority, with obvious tonalsmarts and ear-catching virtuosity.His album strongly suggestsfuture success.Indefatigable drummer BarryRomberg has put out 11 CDsover the past decade featuringhis Random Access combos andthe newest maintains the grouprep for sustained excitement andrelentless drive. Recorded live atthe Rex, Barry Romberg’sRandom Access – Unplugged Live(Romhog Records 121 www.barryromberg.com) has the usualsuspects in play for 70 minutesencompassing just four tunes — guitaristGeoff Young, keyboardist Robi Botos andpower electric bassist Rich Brown. Guestingis American tenor saxist Donny McCaslin,who’s more than comfortable with the strikingfree improv that is RA’s trademark, hisstaccato phrasing meshing well with Young’sdistinctively spiky approach, Brown’s gouginggrooves and the fierce energy from keysand drums. The more-than-22 minutes of theburning In Pursuit is a stirring highlight,Botos sparkling on electric piano.The guitar totedby Winnipeg’s KeithPrice makes untypical,attractivesounds, quicklymanifested on hissophomore albumThe Keith Price Trio/Quintet – Gaia/Goya(KP201102 www.keithprice.ca). Bell-likechords, shining echoey notes, shimmeringresonances are heard, which gives this discsurprising heft considering that it occupiesonly a measly 41 minutes as it combines fourindie-pop tunes performed by his trio withbass Julian Bradford and drummer CurtisNowosad and a six-part suite which adds altosaxist Neil Watson and pianist WilliamBonness. The groupings are well integrated,no one stepping out of line, though the pulseteam is allotted occasional flights of fancy.The suite’s components come across as morefully realized, with a freshness of expressionand frequent servings of heat.Montreal pianistTaurey Butler hasplenty to offer onhis impressive debutrecording as leader,the self-titled TaureyButler (Justin TimeJUST242-2 www.justin-time.com),11 cuts where he unabashedly illuminateshis respect for late genius Oscar Petersonwithout consciously emulating him. Theferocious swing, eloquent skill at speed,pounding left hand and showy imaginationare all there, however, markedly on openingburners Sunrise, Sunset and The LadyIs A Tramp. Butler gets exemplary supportfrom bassist Eric Lagacé and drummer WaliMuhammad throughout, though the trio’swork on ballads is less satisfying than theverve they show on tunes mid-tempo andup, like the catchy Butler contributions AnAfternoon Downtown and Grandpa Ted’sTune, the latter a surging procession ofideas. And you can’t say OP doesn’t springto mind on Butler’s tearaway Nobody’s Here.Big bands don’t rule the jazz roostnowadays but they’re often worth a listen,as is the case with Mississauga Big BandJazz Ensemble – On The Periphery (MBBJE5-2 rboniface@rogers.com), which offers 14tunes and 73 minutes of classy, sprightlyentertainment recorded live at Arnold’sSports Bar in Oakville. The openingFebruary – March 7, 2012thewholenote.com 65