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Julie Lamontagne Trio: Facing the Truth
by John Kelman
Gary Burton isn't the only one to discover vital new talent, as he did on Next Generation (Concord, 2005). Over the past few years, the Canadian Effendi Records label has introduced a surprising number of outstanding artists to the Canadian jazz scene. Their Effendi Jazz Lab performance at the '04 Ottawa International Jazz Festival demonstrated just ...
Remi Bolduc: Cote D'Ecoute
by John Kelman
Source material can, on the surface, come from the strangest of places. In addition to seemingly endless reworkings of the Great American Songbook, contemporary jazzers are now looking farther afield, with artists like the Bad Plus bringing an improvisational approach to material by groups like Blondie and Black Sabbath. Brad Mehldau has been mining the repertoire ...
Jean-Christophe Beney: Polychromy
by Michael P. Gladstone
Following up his 1998 debut album, Tenor Joke, with a 2002 release, Cassiopee, French tenor saxophonist Jean-Christophe Beney now provides a new effort on the Canadian Effendi label. Beney's formidable bebop styling is notable for its fluency and attention to lyricism. Unlike many other “new" players, his playing doesn't employ jagged or fragmentary lines ...
Michel Donato: Et Ses Amis Europ
by Michael P. Gladstone
French-Canadian bassist Michel Donato has been on the jazz scene since the 1960s, with only a handful of albums under his own name. He has the respect of the Canadian musicians for his musicianship and influence in bringing Monk, Mingus, Miles Davis, and Carmen McRae to the Montreal jazz community. This album finds Donato ...
Francois Marcaurelle: Opus No. 6 - Mode d'emploi
by Mark F. Turner
Pianist Francois Marcaurelle has been a noted musician in Canada for many years, having founded the popular jazz/fusion band “Tasman" in the early '80s and currently the active leader of trio and quartet groups. The latest of a number of recordings in his “Opus series, Opus No. 6 - Mode d'emploi lightly stirs the sounds of ...
Vanassextet: Amerikois
by Budd Kopman
Amérikois is a very deceptive album. It starts with “Petit Michel," which sounds very much like light jazz from a French movie, but then grows deeper in both emotion and musicality. The instrumentation changes with more use of the bass clarinet, a fabulous sound, in music with more intricate structure. Being a vibraphonist, ...
Michel Donato: Michel Donato et Ses Amis Europ
by Paul Olson
The mid-'60s Blue Note sound permeates Michel Donato et ses Amis européens, the veteran Québec bassist's new CD. True to the album's title, Donato's teamed with Polish trumpeter Piotr Wojtasik and three non-native Parisians (guitarist Michael Felberbaum, drummer Karl Jannuska and tenor saxman François Théberge). Every musician contributes at least one composition (there are three by ...
Jean-Christophe B: Polychromy
by Paul Olson
French tenorist Jean-Christophe Béney plays with invention, verve and deep confidence on Polychromy, his first release since 2002's Cassiopée. Béney's got a penchant for long, measure-spanning phrases of considerable complexity--not unlike Chris Potter, and there's some Lovano in his tone and style as well. He's also a songwriter of real quality and it is the strength ...
Michel C: Lapon Bal
by Paul Olson
Québec saxophonist Michel Coté's Lapon Balèze may not be the best of the many excellent albums released by the Effendi label last year, but it is absolutely the most original. Coté's been very interested in traditional African music of late and he realizes this interest in the polyrhythmic setting of Raynald Drouin on drum kit, percussion ...
No Name Jazz Sextet: No Name Jazz Sextet
by Terrell Kent Holmes
Over the past few years there has been an influx of innovative new jazz blowing down from Canada. One acclaimed band, the No Name Jazz Sextet, recently released a self-titled CD, an array of tunes written by several members of the group, all acolytes of the hard bop faith. (Members made a special trip to Sweet ...
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