Last Ark Out: Lift

Not a band to let a pandemic or distance get in their way, Last Ark Out managed to collaborate with a number of guest musicians across North America during times of social distancing to produce their second album, Lift. This follows on from Wake (Multiverse Mule Records, 2017). They are a Vancouver and Montreal-based instrumental collective whose music is a hybrid of rock, jazz and funk.

Last Ark Out, formed from former classmates from Vancouver Community College, are a quintet comprising guitarist Arthur Smith, bassist Jeff Gammon, drummer Colin Parker, keyboardist James Huumo and Justin Gorrie on saxophone and guitar. They have toured across Canada, USA and Europe. All but one of the seven tracks features a guest soloist playing material specifically written for them by band members. Given the need to work remotely and to get the feel of the band interacting with their guests, each of the guest musicians plays remotely, connected via a stack of old CRT displays (see the YouTube.)

Opening track, "Brackish," features drummer turned vibraphonist, Sasha Berliner. Berliner has previously played with Christian McBride and Tyshawn Sorey. Here she adds her synth vibraphone over tight rock drumming as the track veers towards prog rock near the end. "Dyab" features Canadian drummer Larnell Lewis. Probably best known from playing drums with Snarky Puppy, Lewis turns up the funk as sax, guitar and keyboards entwine around a catchy motif. With a nod to the 1970s, "Late to the Game" maintains the funky groove, featuring guitar effects, some excellent bass from Gammon together with piano and keyboard solos from guest keyboard specialist, David Osei-Afrifa.

"Libra," composed by Gorrie, has a change of direction with Hailey Niswanger's pulsing cinematic arrangement of flute and clarinets before building to an intense close on tenor sax. "Scorpio" is all driving rock beats featuring a drum solo from Sarah Thawer. Chiming guitar and rock drums lead into "Song Needs Title." This features Allison Au on alto sax. She settles into a relaxed groove entwining elegantly with Smith's guitar.

Despite the lack of special guests, the final track, "It's that Dream Again," proves to be a stand-out with jangly guitar and keyboards building into what could make an excellent soundtrack (or even a Crowded House backing track). Throughout the album, most of the rhythms are funky and rock-based, the synthesizer and effects evocative of the 1970s, melded with contemporary production techniques. The arrangements are well-crafted, the musicianship is polished, there are strong improvisational solos and much to enjoy. All the more so when you consider the hurdles they overcame.

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