uk vibe.org DUNCAN HOPKINS “WHO ARE YOU? THE MUSIC OF KENNY WHEELER” REVIEW
DUNCAN HOPKINS ‘WHO ARE YOU? THE MUSIC OF KENNY WHEELER’ CD (TPR) 5/5
Canadian-born but resident in the UK since the 1950’s trumpeter, flugelhornist and composer Kenny Wheeler died in 2014 leaving behind a vast discography of recordings both under his own name and in collaboration with the great and the good of the British and European contemporary jazz scene. His voice, both as a musician and composer was as individual as a set of fingerprints and his contribution to British jazz cannot be overestimated.
Since his death, it has been heartening to see several ‘tribute’ albums being released. I have mentioned elsewhere the wonderful release from Chris Laurence and there have been others from the Scottish National Jazz Orchestra, Manfred Paul Weinberger, Onyx Brass, The North, Markus Burger, and more together with the recent archival release of a version of Under Milk Wood by Stan Tracey’s Quartet augmented by Wheeler, not to mention the recent reissue of Wheeler’s 1975 album ‘Gnu High’ in audiophile vinyl in ECM’s Luminessence series.
Here we have a set of seven compositions from Wheeler with an additional piece written by Hopkins. The unusual instrumental mix here features, alongside fellow Canadian Hopkins on double bass, Ted Quinlan and Reg Schwager on guitars, and Michel Lambert on drums. The key here is that all the musicians had known Wheeler and had worked with him at some point in their careers and so were very familiar with his repertoire. Hopkins describes this album as a “celebration of his mentor”. Most of the material which the quartet has chosen to perform will be familiar to Wheeler devotees, as it has been sourced from Wheeler’s past recordings. The one exception is Hopkins’ St Catharines Suite which consists of three pieces which make up the final three tracks. Written at Wheeler’s suggestion and including both a piece which had been written by Wheeler but never previously performed and a piece by Wheeler from a 1976 CBC recording called Kitts and opening with Hopkin’s composition, Montebello.
The album opens with Who Are You? Which Wheeler recorded on an album with The Guildhall Jazz Band. The version here is introduced by one of the guitarists with the bassist carrying the melody initially until the guitar takes over all the time, the drummer providing subtle brushwork in support. The feeling is so very relaxed and yet self-assured. Foxy Trot is next with guitars in unison underpinned by bass and drums. This piece includes an inspired bass solo. Again, the performance is in marked contrast to the version originally recorded by Wheeler in 1984 on the album ‘Double, Double You’.
We Salute The Night has a nice easy mid-tempo swing and the guitarists get to show their ability once more. The drumming here is both assertive and supportive. Nicolette is possibly one of Wheeler’s most pretty tunes, and he wrote a few! It seems ideally suited to the two-guitar front line in this incarnation, but it would be hard to better the original version from 1997s ‘Angel Song’ with Lee Konitz. Of course, that’s not the intention here, but merely to offer a heartfelt acknowledgement of Wheeler and his music. The last of the familiar Wheeler themes is Mark Time which opens with drums to the fore. This is possibly one of Wheeler’s most recorded pieces, but the quartet place their own stamp on the tune to great effect. This is perhaps the most impassioned track on the album and none the worse for that.
The concluding three-piece suite begins with Hopkin’s Montebello which although displaying the influence of Wheeler’s writing is clearly something different. Kitts is more ruminative and circumspect and it is interesting to hear how Hopkins assimilates Wheeler’s theme into his own composition. The recital, for that, is what it is, concludes with the final part of the suite Salina St and has the unmistakable Wheeler stamp on it. Joyous music. I mentioned that there have been several albums in tribute to Wheeler and this stands with the best of them. There is no grandstanding here, the musicians are comfortable in each other’s company, and this is evident from what they produce. The sound quality is excellent, and all instrumentalists are clearly and crisply recorded. The artwork produced by Neil Mcvey is also worthy of note.
UK VIBE.ORG REVIEW OF DUNCAN HOPKINS "WHO ARE YOU? THE MUSIC OF KENNY WHEELER"
simply jazz talk DUNCAN HOPKINS “WHO ARE YOU? THE MUSIC OF KENNY WHEELER” REVIEW
I have been very fortunate in being asked to review a number of good jazz guitar albums so far this year and Who Are You? sits with the very best of them. The music is excellent, as is the guitar work of Reg Schwager and Ted Quinlan, but it is the combination of the two guitars and bass that really make this release stand out. The way that the two guitarists play off and around each other is captivating but it is the depth of sound that Duncan Hopkins’ melodic bass brings to a number that pulls everything together. Add to that the subtlety of Michael Lambert’s drumming and you have a complete balanced package of delightful jazz music melody.
tomajazz duncan hopkins “who are you? the music of kenny wheeler” review
Canadian trumpeter and composer Kenny Wheeler was born in Toronto in 1930 and moved with his family to nearby St. Catharines when he was 15. In 1952 he moved to the United Kingdom, where he developed an important career that placed him as one of the most sought-after musicians of the strong London jazz scene. Over the years he revealed himself as a very personal bandleader, composer and arranger who knew how to create a particular stylistic universe that mixed very diverse influences: the swing tradition of big bands, his love for classical music, whether it was baroque counterpoint or the quartal harmonies of Hindemith, or the risk of free improvisation, which he approached since the late '60s.
He never returned to live in his country but returned periodically to St. Catharines to visit his family and friends. That allowed him to stay in touch with the local jazz scene. His influence increased significantly since the 80s, when he became a regular faculty member at the Banff Jazz Workshop. That higher level of exposure helped make his music better known and many young Canadian and foreign musicians were drawn to it. Very soon, his compositions became a regular presence in the repertoire of big bands and small groups.
One of those young musicians is bassist and composer Duncan Hopkins, who also grew up in St. Catharines, knew Kenny and his family for decades, and established a lasting artistic and personal relationship with all of them. Hopkins toured several times with Wheeler, who also played on his excellent album "Le Rouge" (1994), which also featured the great Canadian guitarist Lorne Lofsky.
"Who Are You?", the current album, is a tribute to the music of his friend and mentor. The repertoire consists of seven of his compositions plus an original by Hopkins. Anyone familiar with Wheeler's music could recognize these melodies more or less easily, but what's really refreshing is the way this material is presented. For most of his small group recordings Wheeler used one, two or occasionally three winds plus a harmonic instrument: piano, guitar or, as in "Around 6", vibraphone. Recorded during the pandemic, Hopkins decided to use a radically different format than Wheeler's usual groups: "It was a strange time, but I thought it would be easier to put together a band where we could all wear masks and there were no wind instruments, so I opted for the two guitars," he explained. Using two guitars instead of two winds plus harmonic instrument implies a big change in terms of texture and density and therefore, a big risk. Just think of the original versions of "Foxy trot" and "Mark time" (initially included on "Double double you") with Wheeler, Michael Brecker's sax and John Taylor's piano, or "Nicolette" (from "Angel Song"), with Wheeler and Lee Konitz accompanied by Bill Frisell's guitar. Using only two guitars may suggest a certain sonic weakness but it is not what happens here but a different type of sound emerges, softer and austere but very consistent. Wheeler's writing (his melodies, chord progressions, and bass lines) is so precise that it can admit diverse interpretations, all of them valid.
The repertoire consists of some well-known songs such as those mentioned above and some less known as the title track or a couple of gems such as "We salute the night" and "Kitts", both with beautiful and intriguing melodies full of wide intervals and progressions full of modal colors but that never deviate too much from the harmonic tradition of standards. The last part of the album has the "St. Catharines Suite", which consists of three tracks with place names related to the land of Wheeler and Hopkins. "Montebello" (the only original), "Kitts" and "Salina Street". All this performed by a first class band formed by musicians who have played with Wheeler in different situations and transit the repertoire with total familiarity. Ted Quinlan and Reg Schwager, two of Canada's greatest jazz guitarists, weave lines and chords together over the solid rhythm section of Hopkins and drummer Michel Lambert. A fresh and very enjoyable tribute to one of the most important composers in the history of jazz. Highly recommended.
Tomajazz: © Guillermo Bazzola, 2023
Duncan Hopkins: Who Are You?
Duncan Hopkins (double bass), Reg Schwager (guitar), Ted Quinlan (guitar), Michel Lambert (drums)
"Who Are You?", "Foxy Trot", "We Salute the Night", "Nicolette", "Mark Time" "The St. Catharines Suite": "Montebello" / "Kits" / "
Salina St."
All tracks by Ken Wheeler, except "Montebello" by Duncan Hopkins.
Recorded by Walter Sobczak at Revolution Recording, Toronto, July 26, 2022. Released in 2023 by TPR Records.
Tomajazz review of Duncan Hopkins "Who Are You?"
jazz views duncan hopkins “who are you? the music of kenny wheeler” review
Duncan Hopkins (Bass), Reg Schwager CM (Guitar), Ted Quinlan (Guitar), Michel Lambert (Drums)
Recorded July 26, 2022
I confess that I have never been a big fan of jazz guitar. I’ve listened to many recordings, but none have made it into my regular rotation. But this two-guitar band and this album changed my mind.
Neither of the guitarists comes to the recording with flashy or acrobatic solos. Instead, this is a band that is about cohesive interplay that comes to musicians who carefully listen to each other.
The band is led by the noted bassist and composer Duncan Hopkins. “Who are You?” consists of compositions by Duncan’s mentor, Kenny Wheeler (1930-2014). One of the eight compositions was written by Hopkins and forms part of the St. Catharines Suite that closes the album.
Hopkins has had a 30+ year jazz career playing with Bobo Stenson, Scott Hamilton, Lester Bowie, John Hicks, and Sam Rivers, to name a few. Hopkins has appeared on over fifty albums.
This is Hopkin’s seventh album as a leader and the first to feature another composer. Hopkins formed this band during the pandemic. All four of the bandmates have worked with Kenny Wheeler at one point or another.
The band consists of bass, two stellar guitarists, and a very talented drummer. Reg Schwager was named Guitarist of the Year at the National Jazz Awards four years in a row (2005–08) and was made a Member of the Order of Canada (C M) in 2021.
Ted Quinlan, the other guitarist, is a Juno-nominated artist and has appeared on several Juno-winning recordings as well as playing on over one hundred albums. Drummer and accomplished composer Michel Lambert has played with Gary Burton, Dewey Redman, Barre Phillips, and Paul Bley, to name a few. Michel comes from a family steeped in classical music.
Although each of the musicians leads bands and records on their own, their egos are sublimated on this “live in the studio” recording. The interplay of the guitars is the real gem of this record – as if the two guitarists shared one mind.
In the opening selection, “Who are you?” one immediately notices Hopkins’s bass lines and his virtuosity. I am reminded of Scott La Faro of Bill Evans Trio fame. The drums subtly move the music along. The two-guitar approach – one guitarist leads while the other accompanies and embellishes sets the tone for the album.
The second selection, “Foxy Trot”, has more subtly intertwined guitars with the lead changing hands. The recording is precise and clear with high production values.
The St. Catharines Suite is in three parts and closes out the recording. The first part, “Montebello” was written by Hopkins. The minimal tasteful drumming along with thesecond guitar make the bass and lead guitar stand out. “Montebello” takes its name from a park where Hopkins and Wheeler would meet. In the second part, “Kitts”, the guitars play cascading notes together. The third and last part, “Salina Street” (the street where they would walk on the way to the local park, Montebello) has more unison guitar playing with a slight deconstruction at the end.
This recording is devoid of fast musical breaks, loud sustained guitars, and typical guitar solos. It substitutes ensemble playing, low-key drumming, formidable bass playing, and two tasteful guitarists.
The mix of the recording is excellent with all of the instruments well balanced. “Who are You?” is such a pleasant, melodic journey that is now on regular rotation.
Jazz Views review of Duncan Hopkins "Who Are You?"
winnipeg free press duncan hopkins “who are you? the music of kenny wheeler” review
Along with Hopkins on bass, his quartet features two guitarists — Reg Schweger and Ted Quinlan — and Michel Lambert on drums. Each member considers Wheeler a mentor and worked with him on various projects.
While the music maintains a swinging groove, the overall mood here is quite gentle, always accessible and enjoyable. Wheeler’s compositions were often contemplative, and these tracks are faithful to the writing. The two-guitar choice works well; they swirl around each other with complete empathy and a unified interpretation.
Foxy Trot is an example of a spirited drive through a terrific melody. The album-opening title track sets the mood well, with a solo by Hopkins that highlights a lovely waltz ballad. We Salute the Night beautifully showcases both Wheeler’s writing and the quartet’s affection for it.
The final tracks are a three-part suite called St. Catharines Suite — Montebello, Kitts and Salina St. They present a somewhat different mood with some greater exploration. Apparently, Wheeler left Hopkins a handwritten tune that was never recorded and bore the note, “This could be part of the St. Catharines Suite if it’s any good.” Hopkins used it and a Wheeler excerpt from a 1976 CBC recording to compose the piece.
Wheeler was always humble — he didn’t need to worry if it was any good. ★★★★ out of five
Winnipeg Free Press review of Duncan Hopkins "Who Are You?"
THE WHOLENOTE AVI GRANITE 6 “OPERATOR” REVIEW
Operator
Avi Granite 6
Pet Mantis Records PMR016 (avigranite6.com)
This Avi Granite 6 recording, Operator, opens with two songs that ripple with a chugging pulse suggesting a disc-full of funky tunes. But the guitarist Avi Granite soon shows that his mellifluous aesthetics and wide-ranging stylistic tastes are born of an emphasis on melody and colour – with a little bit of off-the-wall humour baked into wholesome musical patty-cakes.
The repertoire on the album is front-loaded with opportunities for brass and reeds. Trumpeter Jim Lewis, trombonist Tom Richards and clarinetist (and saxophonist) Peter Lutek respond with vim and vigour, and virtuosity.
Granite occupies the chordal chair, his guitar an endless source of surprise as he pumps both volume and pedals throughout – literally and metaphorically. The wonder of his playing is how engagingly, articulately, flowingly and idiomatically he pours himself into his music that is uniformly good and also quite different sounding. He leads a rhythm section that includes bassist Neal Davis and drummer Ted Warren and the three horn players in a lustrous exposition of mercurial work, full of slashing and nostalgic ideas that make this 37-minute musical romp a quite gripping experience.
Between such puckishly titled – and performed – works such as Crushing Beans, Voracious, Misanthropic Vindaloo and Many Bowls, these musicians come together for a performance vivid in interplay and keenly attentive to these charts that appear to resonate with mysteries and wonders seemingly unique to colourful Canada in general – and Toronto in particular.
Operator - Avi Granite 6 | The WholeNote
all about jazz avi granite 6 “Operator” review
Guitarist Avi Granite—in the company of his brash band Avi Granite 6—opens his Operator with "Crushing Beans," displaying a big bad attitude. The drums are explosive, the horns belt it out, the bass shakes the walls and Granite slashes and burns. The first impression is: "This must be a great live band." And indeed, the studio appointment to record Operator came when the group was fresh from a tour. They brought the bandstand energy with them.
"Voracious" is more measured than the opener. The sextet—three horns and rhythm section—does some nice unison cooking, and Granite's solo is concise and tangy, leading into a segment of the sax, trumpet and trombone rolling together into a slalom game in front of a sludgy rhythm.
Throughout the leadership role is obvious; the guitar does not nestle itself down in the mix, but rather takes its turns out front.
"My Sunken Ship" speaks to love lost, a wistful hope for a return of what once was. "Ubiquitous Miles' rambles along with with some fine interplay on the part of the horns, and Granite displays some constrained muscularity on his solo spot.
A group of strong tunes, all penned by Granite, explores with an adventurous flair a broad array of moods, mostly in a "shout it out" mode. "Good Deal" encourages dancing, a smooth cha-cha or a modified mambo, perhaps, and "Many Bowls," the closer, has the band improvising "on visual structures and written stimuli." It comes off as a sort of focused freedom, nicely wrapping up a strong effort.
Avi Granite 6: Operator album review @ All About Jazz
GOLDMINE MAGAZINE AVI GRANITE 6 “OPERATOR” REVIEW
New York City guitarist/composer Avi Granite is a renaissance man. His In Good Hands was very well-received. His Toronto-based sextet, Avi Granite 6, came out with the wildly creative Orbit in 2018 and now its follow-up, Operator (Pet Mantis Records) is even better. Tenor sax, soprano sax, trombone, bass and drums follow his lead and the result is a magnificent trip of spiraling improvisational dreamscapes yet ensemble unity. Opening with the boisterous “Crushing Beans,” on through the celestial ballad “My Sunken Ship” and the funky “Ubiquitous Miles,” which makes its point in a startling 2:28 before getting up on outa here into the rather indescribable “Misanthropic Vindaloo,” these 6 come on like gangbusters. Bravo!
Best Jazz releases: Delfeayo Marsalis, Ramsey Lewis, Avi Granite 6, others - Goldmine Magazine: Record Collector & Music Memorabilia
hi-fi news and record review
suitcase sam “Goodnight Riverdale park” review
Audiophile: Vinyl, November 2021
Suitcase Sam
Goodnight Riverdale Park
Curve Music 8 03057 04302
Issued in Canada in 2019 but just finding UK release, this is one of those unexpected delights if you are 1) a roots music fetishist, 2) not averse to vocals which sound like yodelling even when it's not, and 3) in love with twangy guitars. Suitcase Sam channels everyone from Doug Kershaw to Leon Redbone to Ry Cooder, sprinkling the lot with a good-timey feel that recalls The Band (in upbeat mood). In fact this is such a throwback to the honky-tonk memes of the 1930s-1950s that you'd be forgiven for thinking it's actually stuff missed by Harry Smith. And read the small print: it proudly proclaims all-analogue origins. A little gem if 'Yee-hah!' is in your vocabulary.
Audiophile: Vinyl, November 2021 | Hi-Fi News (hifinews.com)
THE WHOLENOTE AVI GRANITE 6 "ORBIT" REVIEW
Avi Granite 6
Pet Mantis Records PM102 (petmantisrecords.com)
Avi Granite 6 is a small combo comprising guitarist Granite, together with an extraordinary assemblage of reeds, trumpet, trombone, bass and drums. But Peter Lutek, Jim Lewis, Tom Richards, Neal Davis and Ted Warren are hardly an average backing band for the guitarist. The sextet comes together to offer a gorgeous evocation of Granite’s music on Orbit, which is full of enigmatic depths, expectations, anger, hope, doubt and affirmation amid what seems like a moody atmosphere encountered through a shattered mirror by moonlight.
Despite all of the extreme emotion, Granite’s music as heard on Like a Magazine can be meditative, with long, glistening runs on the guitar and saxophone. The guitarist can also be quite rambunctious, plucking and rattling the strings on the broadly grinning Knocking on the Door, or downright mysterious as on Over and Out/Ancestral Walkie Talkie, with his leaping, parabolic lines punctuated with jabbing octaves.
The music of Orbit has, by its composer’s admission, been incubating for a decade, some of which was spent in a great personal crisis. Coming through has meant everything to Granite and this is reflected not only in the CD’s quieter, more contemplative moments, but also in the jagged, bittersweet works such as Undo Process and When the View Became the Way. Together, these 11 pieces represent the work of a thoughtful composer with exceptional resourcefulness and imagination.
https://www.thewholenote.com/index.php/booksrecords2/jazzaimprovised/27776-orbit-avi-granite-6
birD is the worm avi granite 6 "Orbit" lp review
" This music is big, and has a presence that suggests twice its numbers. But the winning quality of Orbit is found in the details, and how its facets shine like mad from the heart of this music. "
kuci 88.9 FM Avi Granite 6 "ORBIT" LP review
Avi Granite 6 - Orbit - (Pet Mantis Records)
Brooklyn based Canadian guitarist/composer Granite goes to those special places full of surprise and delight. These tunes are hard to put on a finger on. Like Zappa, the changes are all fucked up and perfect at the same time. Apparently strongly horn driven, (trumpet, trombone and reeds,) yet really driven by the near invisible line of the guitar these tunes barrel down on you like a semi in the fast lane. Highly recommended.
Avi granite 6 "Orbit" #2 on the national jazz chart
winnipeg free press avi granite 6 "orbit" lp review
ride the tempo eastern magnetics review
" Self-described as psychedelic, Eastern Magnetics’ “Alien Youth” leans much more towards the trashiness and pomposity of glitter rock. It may not be obvious but we really like this. A lot. "
http://ridethetempo.com/2016/05/15/listen-eastern-magnetism-alien-youth/
exclaim magazine rattlesnake choir "walkin' the wire" album review
" Borra has a naturally retro-sounding voice that perfectly suits honky-tonk-style tunes like "Heart Full of Love" and "It Wouldn't Mean A Thing," a song whose references to California, drugs and nudie suits take you back to the days of the cosmic cowboys. The similarly vintage recording style of using two-inch tape adds aural warmth to one charming disc. (Cousin Jeb) "
http://exclaim.ca/music/article/rattlesnake_choir-walkin_wire
Downbeat Magazine Avi Granite 6 "Red Tree" album Best cd's of 2008
exclaim magazine rattlesnake choir "live music" album review
This combo is the brainchild of John Borra, long one of Torontos busiest and most respected players. They formed two years ago to play a residency at a T.O. watering hole and this debut disc is a satisfying outing. Singer-songwriter Borra is joined by long-time sideman Sam Ferrara (the Ugly, Viletones, Screamin Sam), bassist Tony Benattar and violinist Miranda Mulholland, with some vocal and instrumental contributions from Treasa Levasseur. The sparse feel keeps the emphasis on Borras convincingly earthy vocals and songs, and the recording process (live to two-track and tape) adds to the warm and intimate ambience. Ferrara wrote the engaging "Caroline and the Choir cover songs by local honky-tonk heroes Handsome Ned (the classic "Ive Come To Get My Baby Out Of Jail) and the Sadies (the instrumental "Lay Down Your Arms). Such song selections show their heart is in the right place, and Borras own writing is equally strong. This is a disc worthy of exposure beyond the Toronto roots scene. (Cousin Jeb)
https://exclaim.ca/music/article/rattlesnake_choir-live_music
CODA Magazine ryan oliver "convergence" album Top 10 Jazz CD Releases of 2007
http://www.artofliferecords.com/ryanoliver.html
https://www.ryanoliver.ca/bio/
the new york times
"Riot Grrrl United Feminism and Punk.
Here’s an Essential Listening Guide."
Bikini Kill, Heavens to Betsy, Tribe 8 and more: Hear 25 songs that fueled a rock revolution.
fifth column “LIke This”
Created at the dawn of the 1980s in Toronto, this band anticipated both the riot grrrl and queercore scenes, which it bridged when these movements were in full bloom in the early 1990s. The quintet, led by the singer Caroline Azar and the guitarist G.B. Jones, found inspiration in the outer reaches of pop culture (B movies, underground artists like Tom of Finland), which it spat back out coated in a singularly irreverent brand of feminism. Jones, also an accomplished visual artist, influential zinemeister and Super 8 auteur, helped make Fifth Column as much a witty conceptual art project as a polemical rock band.
https://www.nytimes.com/interactive/2019/05/03/arts/music/riot-grrrl-playlist.html
pitchfork
"the story of feminist punk in 33 songs”
FROM PATTI SMITH TO BIKINI KILL, THE SONGS THAT CRUSHED STEREOTYPES AND STEERED PROGRESS
FIFTH COLUMN “sHE SAId BOOM”
When the women of Fifth Column came together in early ’80s Toronto, there were no bands like them in their city—film-schooled, queer, Warholian, explicitly feminist. Fifth Column were inspired by the post-punk bands they read about in imported UK music papers, like the Raincoats and Kleenex, even when they couldn’t find those records; with drummer GB Jones’ legendary zine, J.D.s, she planted the seeds for the cut-and-paste queercore scene that would later inspire riot grrrl.
Fifth Column were an essential piece in this lineage and their signature song, “She Said Boom”—which opened All Time Queen of the World—was a scorching, psychedelic rave-up. The lyrics were about a guy who can’t make sense of his self-empowered girlfriend out tagging graffiti in the street. (Jones herself was a prolific tagger, particularly on the façades of Canadian banks, as evidenced in the Bruce LaBruce video for “Like This.”) As Fifth Column’s Caroline Azar put it, “‘She said boom’ are three simple words that, for us, mean being responsible for your own pocket-sized revolution, and that one’s exasperation with what is false can be said aloud: ‘I say boom, you say boom, she said boom!’” –Jenn Pelly