CD REVIEW: 20 BY THE STEVE KOVEN TRIO

20

The Steve Koven Trio

Bungalow Records

4.5 out of 5 Stars

One of the most classic institutions in the history of jazz is the art of the jazz piano trio.   Off the top of my head there is piano trios led by Nat King Cole, Oscar Peterson, Ahmad Jamal, Red Garland, Bill Evans, Keith Jarrett, and Brad Mehldau to name a few.   Through these artists they brought longevity, innovation, creativity, popularity, and group interplay into their groups, while creating music that is timeless and rewarding.

In this varied list of trios led by pianists, you can now add a fellow Canadian into this illustrious mix of holding and engendering a trio for now 20 years.    The trio I am referring to is the Steve Koven Trio led by Steve on piano and compositions, bassist Rob Clutton, and drummer Anthony Michelli.

In this deluxe CD/DVD, Steve Koven presents 10 well-crafted straight-ahead compositions that is ripe for radio play while engendering creativity, swing, rhythm and soul at the same time.   From the get go, check out the opener “Cervantino”, with its electric Latin montunos and percussive rhythms that highlight the track.   There is also the swinging bebop of “Left or Right” which could have been rightfully placed in a 1950’s jazz record; the gospel/folk leanings of “This Time Next Year” that echoes one of Steve’s main influences Keith Jarrett; the St. Thomas flavoured composition “Bongo Bob”; the R&B drenched soul of “Mrs. Sarnicky”; and the classically influenced closer of the set, “Artists”, echoing the recent flavours of pianist Brad Mehldau.  

The DVD is a 25-minute documentary that illustrates the history of the trio, which started in an Ethiopian Restaurant in Toronto in which the band netted $5 each to playing in festivals and concerts halls all across Canada, Latin America and the Caribbean.    Like greats such as Oscar Peterson, Dave Brubeck, Louis Armstrong, and Keith Jarrett, Steve Koven is more than just a well-oiled pianist, composer, educator and improviser.   He plays an effective role representing the new directions of Canadian jazz to a whole wide world without the need of leaving his own backyard and into newer greener pastures.    For that alone, not only he has my utmost adoration, but my utmost honour and respect for celebrating and supporting the rich culture of Canadian arts.

What I also appreciated about this CD is that there is a lot of richness and depth in his compositions despite his tunes ranging from 3 to nearly 5 minutes.    As Shakespeare said it plainly in one of his plays, “Brevity is the soul of wit”, and through that alone Steve has achieved a whole lot and more through this brisk CD.

“20” is a fitting and wonderful celebration for Steve, Rob and Anthony that strives for artistic quality and exploration while sounding fresh and accessible at the same time.    Here’s to another 20 years and counting for one of the most important Canadian piano trios to grace the international stage.

THE STEVE KOVEN TRIO WEB SITE:

http://www.stevekoven.com

VALERIA MATZNER AT THE REX HOTEL

As summer draws to a close in Toronto, at the Rex the sounds of summer were alive again thanks to a quartet led by vocalist Valeria Matzner.    This quartet, consisting of voice and an acoustic rhythm section of piano, bass and drums, brought the exotic rhythms and harmonic complexities of Brazilian music, ranging from samba to bossa nova.    Not only Valeria Matzner’s group brought the sounds and flavours of Brazil in their performances, they provided a sense of originality through their original compositions designed specifically for their own group.

The band opens with a piece of Scott Metcalfe’s (a brilliant pianist and composer in his own right) “Brazilian Charlatan Pitch”.   It is a primarily instrumental composition that shows the scat sensibilities of Ms. Matzner along with a brilliant solo by pianist Metcalfe and a drum coda provided by Max Senitt that is full of rhythm and pop.  

Among the other highlights of the night is when Valeria takes a break to allow the trio to play Scott Kemp’s composition “Shai Cone”, which opens with a bass solo of Kemp’s that shows off the classical and virtuosic influence of bassists before him such as Charles Mingus, Charlie Haden, and Scott Lafaro.   Then it breaks into a funky jam with creative playing and solos throughout by the trio.

Valeria shows off the beauty of her voice through her moving rendition of the ballad “The Island” as well as her co composed songs with Metcalfe “Cor” and “Grey”.   Her voice is filled with a beauty and vitality that really soars and radiates positivity every chance she gets.   Closing out the first set is an Elis Regina number called “Madalena”, which was so good, crisp and to the point that I had to record video to show the world how great this band is.

Valeria Matzner is on the hook for her debut CD this year, and I really can’t wait to hear more.   If you haven’t heard of her already and love the video, be sure to catch her whenever you have a chance.   One note and you wish you were on the next flight to Rio.

VALERIA MATZNER OFFICIAL WEBSITE

http://valeriamatzner.com

(Valeria Matzner with Scott Metcalfe, Scott Kemp and Max Senitt performing "Madalena"

BATTLE TRANCE AT ARRAY MUSIC WITH KING WEATHER AND NOT THE WIND, NOT THE FLAG

To kickoff a stellar season of creative, avant-garde improvisational music at the Music Gallery, I was treated to a triple double bill of forward thinking Avant Garde music performed at the highest order.   

The first band was an intriguing duo named “King Weather”, co-led by trombonist Steve Ward and drummer D. Alex Meeks.   In their performance, the trombone used clever sound effects to create unique soundscapes with his horn, while the drummer provides backbeats of free rock and contemporary grooves to make it exciting and loose.

The second band was another duo called “Not The Wind, Not The Flag”, co-led by Colin Fisher and Brandon Valdivia.   IN their sonic set we see both musicians doubing on instruments (Colin on sax and guitar, Brandon on drums and long wood flute) while improvising and creating spaced out sounds that seemed otherworldly and futuristic.   Interludes between the flute and the sax were melodic and peaceful, but when the drums came in with the sax it was full of raw energy, emotion, and full of intensity that grabs the listener and doesn’t let go until the end.

The headlining band, “Battle Trance”, is a four-tenor saxophone quartet consisting of saxophone players Travis Laplante (who also composed their main piece of the evening), Jeremy Viner, Patrick Breiner, and Matthew Nelson.   In the beginning, there was a prepared silence that got the musicians and the audience centred and prepared for the sounds they will hear through this piece.    Through four saxophonists they bridge the tensions of peace, chaos, rage and serenity while holding it on their own and making it sound uniquely composed at the same time.   I also detected a very intense spiritual connection and experience to the piece, since the saxophone players appear to be reaching out towards God through their instruments and through their searches as avant-garde musicians.

A fine kickoff by fine three bands to kick of a year of creative music.

NOT THE WIND, NOT THE FLAG BANDCAMP:

https://notthewindnottheflag.bandcamp.com/

TRAVIS LAPLANTE OFFICIAL WEB SITE

http://www.travislaplante.com

MUSIC GALLERY OFFICIAL WEB SITE

http://www.musicgallery.org

(BATTLE TRANCE)

(NOT THE WIND, NOT THE FLAG)

(STEVE WARD)

(D. ALEX MEEKS)

(TRAVIS, PATRICK, MATTHEW AND JEREMY FROM BATTLE TRANCE)

BOYHOOD: THE QUINTESSENTIAL COMING OF AGE EPIC

Last Wednesday I happened to saw probably one of the most innovative, talked about landmark films of the 21^st century.    It didn’t involve superheroes, CGI special effects, trekkies, or Angelina Jolie.    I am talking about a little movie that could named “Boyhood”.

Boyhood is a coming of age epic that follows the life of Mason Evans Jr. over a 12-year period from the age of six while in grade school, all the way to when he goes to college when he is 18.   Relative newcomer Ellar Coltrane, who gives a very convincing and commanding performance as the adolescent, played the role of Mason Evans Jr.     The rest of the cast is spectacular, ranging from Richard Linklatter regular Ethan Hawke as Mason Evans Sr., Patricia Arquette as Mason’s mother Olivia, and Richard’s daughter Lorelei Linklatter as Mason’s older sister Samantha.

This is a very insightful and very deep epic that looks at the issues of the effects of divorce, growing pains, love, loss, discovery, and maturing from a boy into a man.    Upon experiencing this movie, seeing Mason Jr. transform from a little boy to a big man over the years is like being part of a big family that shares the ups and downs of everyday life.   Not only that, there were times I felt like I could’ve been the “Big Brother” that defended him at his weakest state and understood him when nobody else could.

The movie is very funny, some of the content is raw and at times rough (the scenes involving Olivia’s marriage to his alcoholic professor Bruce, played by Marco Perella; frank discussions on sexual escapades when Mason camps out with his friends), but overall this is a very well thought out and well put together movie that chronicles adolescence to a new degree.    Maybe this film could be a very early contender for Oscar season in 2015.

THE ARI HOENIG QUINTET AT THE REX HOTEL

After many missed opportunities, I finally had the esteemed pleasure of checking out a quintet led by probably one of the most intense, exciting and colourful drummers to ever grace the contemporary jazz scene, Ari Hoenig.

Listening to Ari Hoenig is something you got to experience.   The raw emotions, energy, rhythms and drive that comes out of him and his band members is nothing short of remarkable and invigorating at the same time.    It was like being in New York City for a magical night, with all of the excitement, adventure, and risk taking produced by such high caliber musicians.

Ari Hoenig’s percussive style is an extension of Elvin jones, Jack DeJohnette, Tony Williams and Brian Blade, with some humorous touches of the “Animal” character from the Muppets and the hard rock edge of a Lars Ulrich from Metallica.    In the first set that I caught, he displays such techniques effectively through his own compositions, showing his strengths and creativity as a solid writer of contemporary, forward thinking jazz.

The first piece, called Lyric, showed strong lyrical melodies, raw emotion, and gut wrenching passion from all of the band members involved.    There is even a soaring guitar solo passage by guitarist Gilad Hekselman which egged Ari on to play intense polyrhythms behind the solo, driving the music into stratospheric regions unknown to mankind and to the delight of the audience.

My favourite piece would have to be the straight ahead free bop of “I’ll Think About It”, with soaring solos by saxophonist Tivon Pennicott (he even breaks into Avant garde screams on the saxophone during the passage), and a killer drum solo by Ari himself.

Things cool off with an untitled ballad that showed off the relaxed side of Ari and his band, while allowing some time to breathe after all of the action displayed in the first two songs.

My second favourite piece that closed the first set was simply called “The Other”, which featured a driving, klezmer/Middle Eastern influenced solo by Israeli pianist Shai Maestro and effective shifts from acoustic to electric bass by bassist Orlando LeFleming.

This is by far hands down one of the best jazz concerts that I have been to in 2014, and I am glad that I was able to make it out to see Ari Hoenig in action and finally connect with him as a fellow jazz confrere.    It is through artists such as Ari and his band members that jazz has a very solid and secure future, evident by the scores of young people that were there to witness such an amazing tour-de-force.  

OFFICIAL ARI HOENIG WEB SITE

http://www.arihoenig.com

(with Ari Hoenig and Shai Maestro)