Canadian musicians make music differently than the rest of the world, whether it be due to the extreme weather conditions, their generally peaceful nature, or that they appreciate freedom in a unique manner. Saxophonist Michael Blake chooses to play progressive jazz-based music rooted in his family's remembrances with a sextet of like-minded modern creative players that use admittedly traditional sounds in a non-traditional manner. This collection of original compositions uses collective themes and motifs that stretch the imagination, yet remains within a colorful framework of highly motivated and intelligent designs that bear little resemblance to standardized tune structures. Extended techniques and odd meters are at the center of Blake's personalized music, as he plays primarily tenor sax and some soprano to extend these older values into new music beyond simple categories. Trumpeter Brad Turner is a really good partner in these new dialogues, while Sal Ferreras on marimba adds the proper shadings and deep tones that enliven the music. Blake and the band like to play with time -- listen to "Temporary Constellation" with its cute waltz repetitions juxtaposed against a 9/8 ostinato piano and bassline in layers or vamps, very modern, both loose and tight, interactive, and admittedly akin to a musical palindrome. A traipse through parenting through a child's eyes identifies "Paddy Pie Face" for Blake's quirky but playful father via multiple staccato accents sped up frantically, while soprano sax and floating electronics set up a driving one-note bassline in a bluesy theme on the "I and we" dichotomy of the title track. There's a joyous African dance theme in 11/8 time for the purely melodic, light, and effortless "The Wash Away," while conversely dark remembrances of a bout with appendicitis and multiple surgeries inspired Blake to compose "The Infirmary," a dour and hopeless ballad feature for the rhythms section of pianist Chris Gestrin, bassist André Lachance, and drummer Dylan Van Der Schyff, with the horns in later. The two purely improvisatory pieces claim to be the most non-traditional, but in the scheme of history, have much established precedents to richly tap from. "Ghostlines" has the repeated, spacious, and ominous tones the title suggests, feeding on phrased feelings and acute listening skills. Where "The Hunt" differs is in its free, lower-key discourse from the players in a deeper-hued space where the notes are more approximated and vocal, but elusive. This music overall is brilliantly conceived and executed by a band relying on stellar musicianship to make their point of view in new modern music come to life. To love the cosmos in this case is to be the cosmos, traversing through various kinds of terrain to reach an end game of stellar regions, bringing terra firma along for the ride. This is an excellent musical statement, one that is highly recommended to progressive music listeners without hesitation. - Michael G. Nastos
A former member of the Lounge Lizards and co-founder of Slow Poke, saxophonist Michael Blake's familiarity with the esoteric is well documented. A restless searcher, Blake's varied discography reaches beyond jazz to include explorations into the traditional folk music of Vietnam and North Africa. The New York-based saxophonist recently delved into his Canadian roots after studying eccentric 19th century Canadian newspaperman / politician William Alexander Smith, who renamed himself Amor De Cosmos.
Amor De Cosmos is Blake's first recording featuring an all-Canadian ensemble. Blake and trumpeter Brad Turner were part of drummer Dylan van der Schyff's recent quintet album The Definition of a Toy (Songlines, 2005). Bassist Andre Lachance is a member of pianist Chris Gestrin's trio with van der Schyff, while Sal Ferreras is an upcoming multifaceted percussionist.
Surprisingly under-sung, Blake's memorable, idiosyncratic writing deftly incorporates contrapuntal melodies and odd time signatures without sacrificing accessibility. Even the 11/8 meter of "The Wash Away," inspired by the late kora master Keba Cissoko, effortlessly supports an airy Africanized theme.
Accenting complex counterpoint with a twinge of humor, Blake's jocular writing makes the knotty twists and turns of "Temporary Constellation,""So Long Seymour" and "Paddy Pie Face" sound perfectly natural. Inspired by Blake's quirky themes, van der Schyff and Lachance's rousing dialogue on the multi-sectional "Paddy Pie Face" is exhilarating. Van der Schyff's thunderous solo on "Temporary Constellation" is an impressive balance between percussive fury and melodic logic.
The cinematic epic "So Long Seymour" incrementally gains steam fueled by a stalwart bass and marimba vamp, eventually hitting a blazing bop stride. Supported by the rhythm section's fluid accompaniment, Blake and Turner each take expressive solos before the tune transforms into a bustling duet between Gestrin and Ferreras. Gestrin strums strings inside his piano while dropping brisk, linear arpeggios outside as Ferreras shadows his every move on marimba. Their conversation gradually deconstructs before the ensemble regroups to reintroduce the theme.
As a soloist, Blake blends a husky, breathy tone with alternate fingerings, yielding a subtle, expressively rich palette. Brad Turner's buttery tone and melodic assuredness make a great front-line foil. His soaring plea on "The Wash Away" is as lofty as his tender meditation on "Infirmary" is earthbound. Sal Ferreras contributes dazzling marimba lines that add a sparkling levity to the session.
Chris Gestrin's pianism ranges from poetic impressionism, as on the gentle ballad, "Infirmary," to the experimental interior manipulations and jagged angles of the mercurial "Temporary Constellation." On the title track he evokes the fulminating Milesian fury of the Dark Prince's early fusion experiments on electric piano, laced with an acerbic wit.
Gestrin and Blake's two free improvisations, "Ghostlines" and "The Hunt" demonstrate their outré interests with freewheeling interplay that incorporates ghostly multiphonics, spectral electronic washes and spare pointillism.
A diverse and appealing record, Amor De Cosmos is an elegant demonstration of Blake's gifts as a writer and improviser, supported by a tight, intuitive ensemble. - Troy Collins
Tracks
1. Ghostlines (Michael Blake/Chris Gestrin)
2. Temporary Constellation (Michael Blake)
3. Amor de Cosmos (Michael Blake)
4. So Long Seymour (Michael Blake)
5. The Wash Away (Michael Blake)
6. Infirmary (Michael Blake)
7. The Hunt (Michael Blake/Chris Gestrin)
8. Paddy Pie Face (Michael Blake)
MICHAEL BLAKE tenor saxophone, soprano saxophone
BRAD TURNER trumpet
SAL FERRERAS marimba, percussion
CHRIS GESTRIN acoustic and electric piano, electronics
ANDRE LACHANCE acoustic bass
DYLAN VAN DER SCHYFF drums
Recorded September 15, 2007 at The Factory, Vancouver BC.
Songlines Recordings SGL SA1567-2