Canadian Jazz Collective: Septology

The Canadian Jazz Collective is a septet comprised of several of that country's leading jazz musicians. Trumpeter Derrick Gardner, tenor saxophonist Kirk MacDonald and guitarist Lorne Lofsky certainly need no introduction to jazz fans, in Canada or most anywhere else, nor do pianist Brian Dickinson, bassist Neil Swainson, drummer Bernd Reiter and clarinetist Virginia MacDonald. Septology, a compendium of eight songs written by Gardner, Lofsky or MacDonald, was recorded at a studio in Germany's Black Forest during a European tour in 2022 that ended with a sold-out appearance at Ronnie Scott's renowned jazz club in London.

With that much talent in the lineup, one might expect the Collective to hammer every number squarely out of the park. While they do make solid contact—musicians of that caliber could do no less—the result is a couple of three-baggers at best, and more often than not hard-won infield singles. In other words, the Black Forest session is pretty good, which is commendable but more or less below the bar that such masterful performers customarily set for themselves.

On the one hand, here are seven first-class musicians doing what they do best, painting handsome jazz portraits; on the other, the feeling persists that they could be doing it even better. In other words, the session generally lacks the overall warmth and inspiration that one might expect from such an impressive ensemble. In spite of their best efforts, it seldom seems to catch fire. Perhaps the group was a tad weary from all its travels. Whatever the reason or reasons, the studio date is quite respectable but lands in many cases a bit short of its intended target.

One unforeseen stumbling block lies in the choice of material. While none of the eight themes is less than respectable, neither are there any that grab the ears or inflame the senses. If grading, Lofsky would earn a B-minus for "The Time Being," "Waltz You Needn't" and "Highway 9," Gardner a B for "Dig That!," "Terre de DuSable" and "One Thing Led to Another," Kirk MacDonald another B-minus for "Silent Voices" and "Shadows." All good grades, but a step below the anticipated norm.

The same applies to solos: as sharp and well-defined as needed but no more than that. The rhythm section is splendid yet slightly over-recorded, especially Dickinson. Even with its shortcomings, however, Septology rests comfortably above the masses when it comes to small-group jazz recordings, thanks in large measure to the undeniable talents of the septet's members. Even though a touch shy of their best work, Septology is more often than not an impressive and pleasing studio session.

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