The Nimmons Tribute: Volume 2--Generational

If you live in Canada and are not familiar with the name Phil Nimmons, you probably have not been paying close enough attention. Nimmons, who surpassed the century mark in June 2023, is often referred to as the "Dean of Canadian Jazz," and listing his many accomplishments and awards would require far more space than is ordinarily set aside for a complete review. Suffice to say that Nimmons has been active as a composer, arranger, performer and educator longer than most Canadians have been alive. He retired from teaching at the University of Toronto (whose Jazz Studies program is one of several he founded) in 2019, at age ninety-six.

Generational, the second in a series of warm tributes to Nimmons' legacy and music, is superbly performed, as was the first one, To the Nth (Self Produced, 2020), by a world-class octet whose pianist and arranger—none other than the elder Nimmons' talented grandson, Sean Nimmons—also wrote a pair of the album's eight charming numbers, "Generational" and "Bella Shores." As Phil Nimmons composed more than four hundred songs for his various ensembles, from big band to quartet, and others for film, radio, TV, theatre and special events, the group should have no trouble finding enough fresh material to piece together as many testimonials as it wishes. And given their pedigrees, its members should have no concern about reaching the same level of excellence as the first two.

That primacy begins with the buoyant opener, "Arf," and continues apace, as the octet revisits enchanting selections from the JUNO Award-winning Atlantic Suite (Acta Records, 1976) ("Islands," "Transformations") and three more treasures ("Under a Tree," "Carey Dance" and the dreamy closer, "Night Night Smiley," the last featuring a handsome vocal by Heather Bambrick). "Generational" is light and airy, "Bella Shores" even more so, as the younger Nimmons leans heavily on charm and tenderness to press his point. The octet is securely in step, as it is on every number regardless of mood or tempo, while the soloists (each member of the group has one or more chances to shine) are beyond reproach. "Carey Dance," with its Irish overtones, is a tour de force for the ensemble, as are most other numbers, and especially the ebullient "Transformations," which at times calls to mind the Dave Brubeck classic, "Take Five."

The octet consists of Sean Nimmons; saxophonists Tara Davidson, Mike Murley and Alex Dean; trumpeter Kevin Turcotte, trombonist William Carn, bassist Jon Maharaj and drummer Ethan Ardelli. As noted, when it comes to Canadian jazz, the cream of the crop.

Much more could be said about the music—Phil Nimmons was (and is) a master of melody, harmony, rhythm and color—but it may be sufficient to note that every number bears his unequivocal stamp of brilliance, and that those who were chosen to perform them are among the most perceptive and talented jazz musicians that Canada has to offer. If there is to be a Volume 3 in this superlative series, it would behoove fans of bright and timeless music to place their names on the waiting list now.

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