Orrin Evans – ‘Captain Black Big Band’
In no way is Orrin Evans’ Captain Black Big Band anything like the melodic swing dance big bands that typified the halcyon jazz days. Instead, it falls into the category of most modern jazz; it contains some classic elements, but is largely influenced by trends in fusion jazz. No longer for the dance halls, this kind of music is most appropriate for sipping fancy martinis in upscale bars. Like most of the few who manage to maintain a name for them-selves in the ever-shrinking elite jazz music market, Evans’ music is flawless. The rhythms are tight, the dissonant harmonies are right on pitch, the solos are melodically experimental but still smoothly grooving. The musicians of Evans’ big band are clearly the crème de la crème. Yet, like a lot of fusion esque jazz, none of the songs stand out distinctly; still, the album is perfect if you are throwing a classy party and are looking for a smooth blend of avant-garde back-ground music.
– Jennifer Colbourne
Keren Ann – 101
101 is the newest album from Keren Ann, a singer-songwriter who spends her time working in Paris, New York, and Tel Aviv. While her name may not be immediately recognizable, her music has managed to permeate the North American market. With songs on shows like Grey’s Anatomy and Six Feet Under, she also penned the campaign song for H&M’s spring line. 101 shows her comprehensive abilities: the songs are soulful and eclectic, reflecting her classical training and engineering capa-bilities. The album itself suffers from a bit of a personality disorder – “Sugar Mama” is a laid-back reincarnation of a 60s surf song, “101” sounds like modern Whitman set to a trance soundtrack, and “Run With You” could have been yanked straight out of a classic Bond movie. At times, the lack of coherence can be frustrating; the only mood the album reflects is confusion. For those of you who embrace the teeny machines with the apple on the back, this would fit right in with your ‘random’ playlist.
– Karen Aney
Dum Dum Girls – He Gets Me High
Bringing together a stunning combination of sun kissed melodies, raucous post-punk guitar work, and classic girl group backing vocals, Dum Dum Girls’ latest EP, He Gets Me High, is a near-perfect collection of noise pop. On the standout title track, the band gets incredible mileage out of a simple three chord progression, showcasing song writer Dee Dee’s enviable knack for revitalizing go-to rock and roll conventions and making them her own. Continuing Dum Dum Girls’ tradition of ending their records with a carefully selected cover tune (last year’s I Will Be featured Sonny and Cher’s “Baby Don’t Go”), a terrific rendition of The Smiths’ “There Is A Light That Never Goes Out,” caps the fourteen minute collection. He Gets Me High is certainly a brief volume, but its four tracks are some of the group’s finest material to date: a promising sign for their next full-length.
– Nick Ubels
Robbie Robertson – How to Become Clairvoyant
After years of departure from the music scene, legendary Ca-nadian musician Robbie Robert-son is set to return with his first release in thirteen years, How to Become Clairvoyant. On the disc, Robertson strays away from the Native American influences of his past two albums and instead focuses on reviving the roots and blues style that he became famous for playing with the Band and the Hawks. Often, this is through the lens of a more modern approach, reflected even in the album’s art-work. A collaborative effort, Rob-ertson teams up with musical al-lies old and young including Eric Clapton, , Steve Winwood, Trent Reznor, Tom Morello, Robert Ran-dolph, Rocco Deluca and Angela McCluskey. Pino Palladino and Ian Thomas make up the rhythm section the holds down the fort. The result is exhilarating and re-freshing; a welcome return.
– Paul Falardeau
