Volume 15 Issue 10 - July/August 2010

Altering the paradigm so that each instrumentis as important as any other creates amore equitable and satisfying performance –and boosts the trumpet’s role. Toronto’s JimLewis, Andrew Downing and Jean Martindemonstrate this On a Short Path fromMemory to Forgotten (Barnyard RecordsBR 0311 www.barnyardrecords.com). Consistingof 10 instantcompositions, thereis no foreground orbackground instrument.One tune forexample could be acapriccio, as Lewis’joyful trumpet blastsdefine the theme; anotheris dependent on Downing’s thumpingbass pulsations; and almost all are illuminatedmore by the splashes of multiphoniccolor Martin creates with gamelan-like belltones and triangle resonation than a steadybeat from his regular kit. Showcasing Lewis’phrasing, which ranges from staccato heraldicblasts to graceful flutters, is Eight, the tunein which his moderated a capella puffs giveway to a rubato, double-time version of themeand finally to aviary chirps plus whistling resounds.These intertwine with martial rollsand rebounds from Martin and walking slapbass from Downing.A refinement – orcoarsening – of thisstrategy is displayedby Vancouver’s Inhabitants,on A VacantLot (Drip AudioDA 00579 www.dripaudio.com),which adds the guitarof Dave Sikula to the basic trumpet (JPCarter), bass (Pete Schmitt) and drums (SkyeBrooks) trio. Another major difference isthe use of electronics, with Carter’s heavilymiked trumpet’s pulsating alongside Sikula’sfolksy strums. Eschewing a steady beatSchmitt and Brooks still use string strokesand harsh backbeats to prevent otherwise airytimbres from ascending into the stratosphere.Pacific Central is the representative track.After a minimalist introduction that’s mostlyacoustic guitar and trumpet peeps, the pieceopens up and accelerates to full-bore polyphonywith hard drum ruffs, staccato guitarlicks and trumpet shakes which cascade chromaticallythen fade, while still encouragingthe group’s affiliated pulses. This is electrifiedmusic with a touch of dissonance.By crafting new roles for trumpeters withinimprovising combos, these Canadian playershave produced memorable CDs.POT POURRIHiveGamelan Madu SariSonglines SGL 2406-2(www.songlines.com)• Vancouver’s brave label Songlines Recordingshas just released the second fine albumby that town’s Kyai Madu Sari. Playinga complete Javanese gamelan, this groupof composers and musicians has been developinginnovative music and theatrical productionssince 1986. Their ambitious and delightfullyrewarding album documents a newlevel of artistic sophistication and an abilityto communicate their voice to a wider nongamelan-centricaudience.“Hive” is constructedaround threethings: the group’sprovocative shadowtheatre productionSemar in Lila Maya,the full possible instrumentalrange ofthe Javanese gamelan,and vocals up front in the mix. In fact thoseunfamiliar with the world of Javanese gamelanmusic may be surprised at the prominenceof the glorious solo and choral singingin much of it.Ben Rogalsky’s compositions illustrateall three threads beautifully. His song FromHeaven to Earth deftly draws on two musicgenres for inspiration: the old-fashioned syncreticIndonesian folk style kroncong andthe more recent Javanese campur sari. BehindRogalsky’s backing of gamelan alliedwith mandolin, cello and string bass, are thewarm and communicative vocals of the composer,Jessika Kenney and the chorus. Thesame vocal group is heard to good, thoughvery different, effect in English composerAlec Roth’s eerie Full Fathom Five.The Javanese born and long-time westcoast resident Sutrisno Hartana’s two elegantcompositions are the most Javanese in feelingand conception of the works presented here.“Hive” is a rich and rewarding musical experiencethat challenges as well as it soothes– and magically manages to do it on severalcultural levels at once.Andrew TimarProject Bali XGiri KedatonIndependent GKN-10809(www.girikedaton.com)• First of all, ProjetBali is defiantly notyour chill-out ambientgamelan album.It is however a genrebending, skillfullycomposed, performedand recorded compilation by the crack MontrealBalinese gamelan group Giri Kedaton.Never academic, it incorporates withélan Western popular and classical musicalelements with straight-up and twisted Balinesegong kebyar instrumentation and musicaltextures.Glancing at the album’s titles is a deadgiveaway to the cheeky culture-mashing intentionsherein. Bali Hillbillies layers gongkebyar with the rock trinity: electric guitar,bass and drum set, with blood-pumpingresults. Ritual du Citadin continues therock trope mirroring drum set breaks withkendang (drum) and ceng-ceng (Balinesemultiple cymbals) features, underscored byspacey synth textures and rippling kotekan(interlocking patterns) provided by the rest ofthe gamelan.The musical and material ‘metal’ metaphoris brought to the surface in JembatanMetal. I find that the tempestuous Balinesekebyar (“burst in flame”) music & heavymetal rock energies and gestures suit eachother so well that it made me wonder whattook so long to marry them?The album also embraces a Radioheadcover, surf rock vibes, synth soundscapes,Cuban bata drumming, Ennio Morricone referencesand techno beats, all quite comfortablyand unapologetically cohabiting withgong kebyar music.Thanks to Giri Kedaton’s twenty-six dedicatedand skilled Quebec musicians and composers“Projet Bali” is one thrilling crossculturalvoyage worth taking repeatedly withlittle fear of culture shock.Andrew TimarOLD WINE IN NEW BOTTLESFine Old Recording Re-releasedBy Bruce SurteesHungarian violinist Johanna Martzy(1924-1979) had a unique, pure andtender, quasi angelic tone. Now an iconand cult figure and even though she recordedfor major labels including EMI and DG,her records are in such demand that it is notunusual that her LPs at ‘second hand’ specialistsare priced inthe thousands of dollars.In the last 20-30years there have beenextensive efforts tolocate her live broadcastsand each suchfind is welcomed as atreasure by collectors.One British label was for many years devotedexclusively to Martzy broadcasts. A newDOREMI CD (DHR-778) has the BeethovenConcerto which she did not record commerciallyand appears here for the very first timeas does the Mozart sonata in B flat major,K454. Her performances are striking, at theJuly 1 - September 7, 2010 THEWHOLENOTE.COM59