On this latest CD he features the Speakeasy Quartet in a program of jazz standards from the 20s and 30s including a couple of Bechet compositions, Egyptian Fantasy and the rarely heard Premier Bal, East St. Heard, Art Hodes, Franz Jackson and Sammy Price. He has been a real catalyst for the music as a guitarist/promoter/record producer between 19 his Parkwood Records label recorded such veteran musicians as Doc Cheatham, J.C. Hugh Leal may not be well known in Toronto but he has been a significant force for jazz in the Windsor area since the late 70s. The Speakeasy Quartet – Vintage Style Hot Jazz, Swing and Pop Lewis’ exuberant precision and Piltch’s subtle musicality elevate many of the songs from stylish to artful. But the real genius is in having Larnell Lewis and Rob Piltch play drums and guitar on this record. Singer/stride pianist Michael Kaeshammer’s guest turn on the Ink Spots’ I Don’t Want to Set the World on Fire is inspired. Sperandei’s nice, bright sound blends well with McConnell’s and his soloing is confident and concise. Her accent is beautiful and convincing on the few French offerings including, of course, Piaf’s La Vie en Rose.
McConnell’s background in theatre shows in her vocal phrasing and approach - she has a big sound and emotions are expressed in broad strokes that play to the back of the house. The title, Stealing Genius, is a reference to Oscar Wilde’s quip “talent borrows genius steals.” But since covering other songwriters’ work is standard practice in the world of jazz, the quip could be reworked as “talent borrows jazz artists assume ownership.” In this case, the victims of the thefts are varied and sometimes unexpected such as Elvis Presley ( Suspicious Minds), Led Zeppelin ( Thank You) and James Bond ( From Russia With Love). The debut record from singer Amy McConnell and trumpeter William Sperandei, with producer Feisal Patel, is a stylish romp through 20th century music originating from a range of genres and eras. Stealing Genius - Amy McConnell William Sperandeiįemme Cache Productions FCP0001 The improvisation skills, talent and dedication of musicians such as Ken Aldcroft guarantee a vibrant improvising future for players and listeners alike. These two releases are fine examples of the flourishing creative music scene in Toronto. The occasional reference to traditional jazz and blues is a welcome musical commentary. Haas’ rapid saxophone lines against Aldcroft’s guitar colours are brilliant in their textures, phrasing and energy. The music is more atonal than the above release making it perhaps a bit more of a difficult listening exercise for those not accustomed to this type of music. Notes on the miasms features Aldcroft improvising with Andy Haas on sax and electronics. It sounds like one giant guitar – riffs, extended solos and in-your-face sound bolts, combined with humour and wit in a stunning example of superb music. In contrast, The Long (II) is a wall of sound, giant stadium extended rock guitar extravaganza. The minimalistic patterns and atonal guitar effects are precisely placed in the relaxing soundscape. The Long (I) is a mellow soundscape which seems to emulate the soothing environment of the wilderness. Each “short” is a concise tidbit of colour and rhythm which sets up a lengthier (over 20 minutes) set.
The long and the short of it features him with fellow guitarist Joel LeBlanc in two contrasting short and long works. Toronto guitarist Ken Aldcroft displays his formidable guitar technique and improvising acumen in two new “free improv” releases.