Jazzword review by Ken Waxman


Ancient but apt, the saying “you can take a boy out of the country, but can’t take the country out of the boy” is more accurate if the country is Canada and the “boys” are male and female musicians in the United States. No matter how busy they are, improvisers are always ready to play north of the border. Last month, for instance, Toronto-born, Brooklyn-based drummer Harris Eisenstadt played two Toronto shows in one day before continuing an American tour.

CF 123Harris Eisenstadt – Guewel (CF 123)
Being Canadian doesn’t mean cutting yourself from other interests as Eisenstadt demonstrates on Guewel (Clean Feed CF 123 CD. Named for the Wolof word for griots, the band – cornetist Taylor Ho Bynum, trumpeter Nate Wooley, French hornist Mark Taylor and baritone saxophonist Josh Sinton – plays the drummer’s arrangements of West African pop music and ceremonial rhythms which he learned overseas. The tunes contain elements of southern dance tracks and brass band marches. Each horn man has the melodic smarts to meld with Eisenstadt’s multi-faceted drumming, producing catchy yet non-simplistic tunes. With his hunting horn sonorities, innate lyricism and pumping vamps, Taylor is a standout. The sympathetic arrangements stack horn parts atop one another in such a way that every solo becomes almost three-dimensional. Should a tune like Rice and Fish/Liti Liti begins mellow and impressionistic, then a drum beat signals a timbral shift with Taylor’s jujitsu tongue-fluttering matched with near Mariachi-styling from the other brass players. N’daga/Coonu Aduna transcends its marching band flavor as Sinton riffs harshly, accelerating to whoops and brays, while the meandering brass trill rococo detailing around him and Eisenstadt clatters, pops and ruffs.

CF 121RIDD Quartet – Fiction Avalanche (CF 121)
Davis is also part of the RIDD Quartet on Fiction Avalanche (Clean Feed CF 121 CD with CanCon provided by his spouse Kris Davis, who studied at the U. of T, and the Banff Centre. Outstanding on 10 group compositions, solos are weighed among Davis’ sensitive drumming, sweeping colors from distaff Davis, Reuben Radding’s tough, but restrained bass, and the kinetic runs of saxophonist Jon Irabagon. On Fiction Avalanche, the pianist percussively chords a counter melody that extends rasping bass slides and flattened reed vibrations. Monkey Catcher is a screaming blues expanded by Irabagon’s fortissimo split tones, yet tamed by Davis’ chord progression, key-clipping and flailing. Sky Circles is both atmospheric and lyrical. In unison the saxophonist’s buzzy trills and the pianist’s comping outline the theme. Segmented by winnowing squeals from Irabagon, the pianist moors the improvisation while advancing the theme chromatically. http://www.jazzword.com/review/126900

+ There are no comments

Add yours