Queen Kong: Fray

Providing further evidence of the capaciousness of the Toronto jazz scene, Queen Kong is a neo-klezmer outfit that brings smart musicianship and some crafty grooves to its debut, Fray. Although the name of the band has a facetious aspect, there's nothing flippant about Queen Kong's music, as it mines a rich vein of cultural resources in the course of its eleven engaging tracks.

The music's provenance in the covid pandemic is indicated on the opener, "Kavod-19," a tribute to first responders using the Hebrew word for "respect." It's a bouncy, spirited piece, with drummer and bandleader Lorie Wolf's sprightly rhythms keeping the track moving. And it provides the template to much of the group's music, with clear klezmer roots that are updated with hints of rock and funk, albeit nothing that gets too unruly. If at times one wants the band to cut loose a bit more assertively, this takes nothing away from Wolf's tight, well-structured arrangements, all of which highlight the superb contributions of her colleagues.

With a band that includes the presence of Tom Richards on sousaphone and Nathan Dell-Vandenburg on trombone, Wolf has plenty of low end to work with, giving the music a deep resonance, even without a bassist. Guitarist Graham Campbell also provides rhythmic verve to the music, in perfect sync with Wolf's restless drumming. The additions of cellist Beth Silver and violinist Jaron Freeman-Fox are also essential. Silver's cello takes on the function of a rhythm instrument on the off-meter "Bethema," and she has a strong solo turn on the piece too, almost as good as the gorgeously haunting reverie she gets on the second part of "Kaddish for Jonny," Wolf's farewell to a departed friend. Freeman-Fox's jaunty solo helps kick off "Pirate Max," one of the album's most vibrant tracks.

While the band as a whole is terrific, the star of the show is certainly klezmer veteran Michael Winograd, whose soaring clarinet enlivens much of the album. He provides a lot of the muscle on the upbeat numbers, like "East 3rd and C," where he catches fire on the second half of the track, surging over Campbell's fuzzed-out guitar; but he's just as affecting on the somber-hued pieces. His evocative solo on "Di Zun Vet Aruntergeyn" is a lovely response to Wolf's compelling vocal, sustaining the piece's mournful beauty.

The album's closer, "Moshi," has the most conventional klezmer feel on the album, but even here Wolf's creativity shines through, as she uses Cuban bata drums to provide some additional spice to the track. It exemplifies the band's forward-looking approach to the klezmer tradition, and it's a fine conclusion to a very enjoyable album.