John Scofield Uberjam Band: Mainstage. Thu Jun 26 8:00pm
The title tells you about the historical Silk Route journey concept of this project, so let me tell you how it sounds.
The music of composer Kyriakos Kalaitzidis, based in Byzantine classical traditions, sings melodically, but with a strong sense of dance. The nasal whining and twang of his oud lines move like loping camels ornamented by the patient jingle-jangle of their bells. Huiran Wangs’ plectrum on the strings of the solo pipa sounds elemental like stones rattling in a tin pot. The melodies are rhythm-based: strokes of implement or hand on stretched skins of tombak and other percussion reflect the strokes on stretched strings of oud, setar and sarang. The nuances of rhythmic changes and melodic inflections dance right into your bones.
Styles, timbres, temperaments and textures of the vocalists couldn’t be more wide-ranging, various and interesting. Some of them shout—field shouts. Nodira Primatova supplicates like a love-lorn banshee in her Uzbek song “Ey Dilbari Jononim.” Maria Farantouri sings the album’s most affecting song, “The Stranger,” in a high, haunting voice of exquisite sensitivity. Amartuvshin Baasandorj’s “Chandmani untag,” a Mongolian style song, is an exotic tour de force because his mouth and hand jive— like Tibetan overtone – harmonic or throat – singing—growls in gritty lower pitches or whistles and whines like a jews harp.
This project is a collaboration between two ensembles: En Chordais, directed by virtuoso oud play player Kyriakos Kalaitzidis, and Constantinople comprising brothers Kiya and Ziya Tabassian (Kiya plays setar, sings and composes, Ziya explores the infinite possibilities of the tombak and other percussion instruments), and Pierre-Yves Martel— a viola da gamba player from Montreal.
There is a whole world of listening here, a generously packaged feast for the ear and the mind. Five Stars.
What do you do when the thrill is gone? Bring it Back. What Katherine Russell brings back on her fifth album is the thrill of ‘Swing’. Behind her direct and warm stylings you get into hearing echoes of Roy Eldridge’s muted trumpet in front of Fletcher Henderson’s orchestra; Louis Armstrong’s horn with his own band; Basie on piano with Freddy Green on guitar, or Ellington leading Jimmy Blanton on bass and Ben Webster on sax.
Of course, Swing never really went away, so you’re entitled to hear Jimmy McGriff’s bluesy riffs behind Catherine as she vamps the 1956 hit “After the Lights Go Down Low.” Her second track “I’m Shooting High,” has the Jimmy McHugh signature vibe that helped real jazz be popular and become perennial. The album has tunes by Duke Ellington, Fats Waller, Harold Arlen, Johnny Otis and Johnny Green that all make you want to dance, fast or slow. But you also want to listen to Russell’s phrasing which never calls attention to itself, but always takes you into the emotion of the song. My nominee for the most interesting number is “Aged And Mellow.” By including this tune, Catherine Russell brings back the tradition of bandleader Johnny Otis, who also wrote “Hound Dog” and discovered singers Little Esther, Etta James, and Willie Mae ‘Big Mama’ Thornton.
Catherine Russell was born into the history of jazz. Her mother is the recently deceased vocalist Carline Ray, who played rhythm guitar back in the day for Erskine Hawkins and Mary Lou Williams. Her father, Luis Russell led the band and arranged for Louis Armstrong who wrote the ballad “Lucille” which she records here for the first time. To share her personal heritage project on the Harmonia Mundi Jazz Village imprint, Catherine Russell collaborated with a fine ten-piece band and arrangers who make the music sound authentic for then and real for now. It’s a keeper.
Track Listing: Bring It Back; I’m Shooting High; I Let a Song Go Out of My Heart; You Got To Swing and Sway; Aged and Mellow; The Darktown Strutters Ball; Lucille; You’ve Got Me Under Your Thumb; After The Light Go Down Low; I’m Sticking With You Baby; Strange as it Seems; Public Melody Number One; I Cover The Waterfront.
Personnel: Catherine Russell: vocals, percussion (6, 10); Matt Munisteri: guitar; Mark Shane: piano; Lee Hudson: bass (1-5, 7-13); Nicki Parrott: bass (6); Mark McLean: drums, percussion (6); Andy Farber: tenor saxophone; Jon-Erik Kellso: trumpet; Brian Pareschi: trumpet (2-13); Dan Block: alto saxophone, tenor saxophone (5), clarinet (4); John Allred: trombone; Mark Lopeman: baritone saxophone; Glen Patscha: Hammond B-3 (6, 9, 10).
Verdi’s A Masked Ball is a blend of splendid elements. It has romance: Riccardo, the Governor of Boston and Amelia are in the toils of an irresistible attraction. It has drama: Amelia is married to the Governor’s best friend and political advisor, Renato. It has intrigue: the Governor’s political opponents, led by Samuel and Tom, are planning to assassinate Riccardo, and Renato is his most loyal defender. The first act writhes with dramatic irony because Renato does not understand that the man he is loyal to is his betrayer. In the third act, which is a masked ball, all the masks are peeled away, and a tragic truth is revealed. READ THE FULL REVIEW
When Tolstoy listened to Beethoven’s “Kreutzer Sonata,” he imagined a crime of passion. Tolstoy wrote a story about a performance of this violin sonata that drives a husband to kill his wife after hearing her play it with another man.Isabelle Faust accompanied by pianist Alexander Melnikov did not play Beethoven’s Op. 47 that way last night in Koerner Hall. Dressed in a diaphanous coat of shimmering green and magenta, her tone brought to mind a dragonfly hovering on transparent wings above the sparkling cascades of Melnikov’s piano. Their performance swelled with passion tempered by gentleness. READ THE FULL REVIEW ON BACHTRACK.COM
Cosi Fan Tutte is Mozart putting it all on the line. He gambles on the unattractive premise of Lorenzo Da Ponte’s book: that women are all the same: treacherous—not one can be trusted. To support this moral outrage, in 1790, Mozart composed three hours of music so beautiful and unified in expression, the world would not hear its like again for nearly 70 years till Wagner’s Ring. Cosi was a flop in Mozart’s lifetime. Morally high-minded European audiences kept it out of the running for more than 100 years. However, last night’s Canadian Opera Company Toronto première of Cosi hit the trifecta for cast, conducting and direction. READ THE FULL REVIEW ON BACHTRACK.COM
January 11, 2014. Roy Thomson Hall, Toronto.
He conducts the orchestra as if he were playing the piano; his playing is a dance, and beyond that when he speaks, Ignat Solzhenitsyn reveals the writer in his blood. Because of the eloquence and enlightenment they contain, I feel privileged to share selections from my notes of Solzhenitsyn’s introduction to this first of the Toronto Symphony Orchestra’s five Mozart@258 concerts.
He spoke of Toronto’s tradition of getting “to know the music of this man who flashed like a comet in the Vienna sky and vanished, leaving behind music that we come back to over and over. Mozart is the most accessible of composers, whether we come to him again or for the first time. He is also the impregnable enigma that haunts musicians all our lives. It is not difficult to play the notes of his music: children can play Mozart. But to find the message of his music takes a lifetime. For me Mozart is like the fairy-tale mirror that shows us ourselves in the present, the past and the future: who we are and who we really can be. Mozart’s greatness is his perfect expression and it is for that we will always come back.” READ MORE
ENSEMBLE MADE IN CANADA. Mozart Piano Quartet No. 2, Brahms Piano Quartet No. 3. 65’07″. www.ensemblemadeincanada.com
Ensemble Made in Canada offer Piano Quartets by Mozart and Brahms for their debut CD. The program is nicely balanced and they play well together with a sense of style and with something to say about each work.
Mozart wrote his Piano Quartet No. 2 in E Flat major, K. 493 of 1786 to showcase the clarity of the Stein fortepiano whose novel engineering gave him opportunities for subtleties of dynamic contrast, articulation, shading, colourings and orchestral textures that were unimaginable on the previously available keyboards.
The Ensemble’s opening tutti invites you into that excitement. Mozart’s writing then separates into parts for piano and for string trio. The call of Angela Park’s piano has sparkle. The string’s answering response in both antiphonal or unison passages has an intriguingly yielding, dare I say, feminine quality. The voice of Sharon Wei’s viola underscores some sensuous and intimate moments during the recapitulation. Generally, the Ensemble chose and held a perky tempo that comes across as ‘Sentimental’ in the Eighteen century sense, meaning their main subject inclines to feelings more than to form.
The songlike Larghetto is lush and liquid; but the pace they maintain is sluggish, relieved by the piano’s crystal runs and the thrilling throb of Rachel Mercer’s cello. In the end, and after enjoying the liberties Mozart allows for individual voices to combine freely in various alliances, what the Ensemble has to offer comes down to this: they find in Mozart’s contrasts a bold sense of drama that makes the music sound at times like Beethoven.
It is not surprising that the Ensemble keys this note of drama up several notches in the Brahms Piano Quartet No. 3 in C minor (“Werther”), Op. 60. As the subtitle tagging Goethe’s suicidal hero suggests, this Piano Quartet is dark matter, the stuff of melodrama. Begun in 1855 but not published till 20 years later, this work belongs to the period in Brahms’ life that was gored by the horns of his love for Clara Schumann and his feelings of guilt over her husband Robert Schumann’s attempted suicide, madness and death.
Emotional turbulence marks the character of the second movement scherzo. The piano part is especially dense, but Angela Park keeps it agile and flowing. Elissa Lee’s violin provides a strong leading life-line through the emotional froth. The penetrating lament of Rachel Mercer’s cello in the third movement achieves consolation in a dialogue with the piano. As the third movement develops, the conversation among the instruments establishes a tone of emotional balance, neither sentimental nor melodramatic, as if everything is just right and everyone has just what they need. The descending figures of the finale plunges us back into dark matter.
This is a bold and stylish debut for Ensemble Made In Canada. The sound of their recording in the Glenn Gould Studio co-produced by violinist Scott St. John and engineered by Ron Searles is first-rate.