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 Land of Kush
Against the Day (Constellation)
Yet another near-genius release from one of Montreal’s most tireless and eclectic artists, Sam Shalabi. Originally conceived for a one-night-only performance, Land of Kush thankfully gets documented and is a joy to hear throughout every loving minute of an hour. With the backing of 28 musicians, this is probably Shalabi’s most massive release yet, but he manages to lay off the possible bombast while covering his tracks with the crosspollination of different styles including Middle Eastern, free jazz, prog rock and psychedelia. His composition style is as fearless as ever, with his arrangements leaving elbowroom for soloists and blips huddled in the background. As if we needed any more proof, Shalabi once again announces he is one of the most innovative and interesting artists to ever spring from our streets. 9/10 Trial Track: “Bilocations” (Johnson Cummins) At la Sala Rossa, Mon.–Tues., Mar. 23–24, 8 p.m., $15
 …And You Will Know Us
By the Trail of Dead
The Century of Self
(Justice/Fontana North)
On this duo’s sixth release, they finally sneak a glimpse over their shoulder at their earlier work, scaling the density back a bit while keeping their epic ambitions intact. Their true ace in the hole has always been their amazing sense of drama, and the instrumental opener “The Giants Causeway” brings perfect tension before the punk rock blast of “Far Pavillions” blows everything skyward. Distilling their past while still keeping things fresh, The Century of Self can indeed be considered a career highlight. 8/10 Trial Track: “Inland Sea” (Johnson Cummins)
 Benjy Ferree
Come Back to the Five and Dime
Bobby Dee Bobby Dee (Domino/Outside)
On his sophomore LP, Washington, D.C.’s Benjy Ferree pays tribute to ’40s child star Bobby Driscoll. When puberty (and acne) abruptly ended his film career, he developed a hard-drug addiction, dallied with Andy Warhol’s debauched, doomed entourage and died in 1968, aged 31. More glam rock romp than elegiac memorial, the record relies musically on the styles of the period that provided its narrative—rockabilly primarily, with dollops of doo-wop and surf. Ferree’s songs are stacked with personality, as dense and electrified as the ’70s acts inspired by the same material—Queen, T-Rex, even early Adam Ant. Looks like Pop Levi’s got an American blood brother. 8.5/10 Trial Track: “Great Scott!” (Lorraine Carpenter)
La Patère Rose
self-titled (Grosse Boîte/Select)
If Coeur de Pirate pirated samples and supplemented her piano balladry with electro beats, retro synths, maudlin strings, big band horns and a soupcon of reggae riddim, the result wouldn’t be dissimilar to what this Sherbrooke trio achieves on their debut album. Winners of last year’s Francouvertes competition (both the jury prize and the prix du public), la Patère Rose show off their versatility without losing their voice, striking chords both soft and sad, brassy and sassy. Keyboardist/sampler Thomas Hébert and drummer Julien Harbec are also members of electro-jazz party band Misteur Valaire, but here they let singer/pianist Fanny Grosjean occupy centre stage. 7/10 Trial Track: “L’Eponge” (Lorraine Carpenter) CD launch at le National tonight, Thurs., March 19, 9 p.m., $13
Sweet Mother Logic
The Ascension Island EP (independent)
While not a calling-card gimmick, the twin cellos that make up the backbone of this Montreal band’s sound are just part of what forms their unique and effective approach, played off precious synths, engaging structural shifts and lightly bouncing syncopated rhythms. The prog-pop chamber games on this 25-minute EP aren’t all cheerful fun, though, as they’ll detour into pensive stretches, aggressive accelerations and outright runs of panic polka. Call your mom and tell her, there’s an admirable logic to these complicated, contrapuntal composites. 7.5/10 Trial Track: “Days Into Nigh(Rupert Bottenberg) With Akido, the Coward & the Pelican at la Sala Rossa, Fri., Mar. 20, 9 p.m., $10t”
 K’Naan
Troubadour (Virgin/EMI)
Aside from a few choice cuts like the first single “ABCs,” featuring a surprise visit from forgotten old-school rap pioneer Chubb Rock, or the profound and soulful “America” featuring Mos Def and Chali 2na, too many tracks on this album offer a watered-down hybrid of hip hop and roots reggae. “Bang Bang” with Adam Levine and “If Rap Gets Jealous” featuring Metallica’s Kirk Hammett are particularly awkward, leaving you wondering what exactly this “troubadour” is offering in his music. His flow and voice, when he raps, are reminiscent of Eminem, and the self-indulgent lyrics are there too, albeit on a different subject. This is a safe album to give to your mom or to throw on at a wine-and-cheese. 5/10 Trial Track: “ABCs” (Morgan Steiker)
 Rohff
Le Code de l’honneur (Phénomène)
French hip hop is always five years late. It experienced its heyday in ’99, five years after New York’s ’94 golden era, and today it sounds a lot like the commercial garbage we heard after 50 Cent first dropped in ’03. Rohff is the poster boy of an over-produced, non-melodic brand of French rap that tackles subjects like the rap game in “Rap Game,” or being real on “Que pour les vrais.” There are nonetheless deep rage and hate-fuelled lyrics, a reflection of France’s immigrant culture, that make the album worth a listen. Musically uninviting overall. 5.5/10 Trial Track: “Paris” (Morgan Steiker)
 Junior Boys
Begone Dull Care (Domino/Outside)
Howling static like a waterfall heard through a keyhole kicks off the Junior Boys’ latest, a nostalgic, unabashed indulgence. Greenspan’s ear-side whispering is as collusive and reassuring as ever, and the catchy, key-driven techno no less carefully crafted than previous efforts. But I daresay the beloved boys are finally unhinging a little, slowly veering away from their impenetrable pretense and loosening their collars. The record is strangely fun and accessible, something that can’t always be said about their legacy. “Parallel Lines” is hopeful and curious, “Bits and Pieces” is aloof and seductive, “Hazel” is funky and cheesy. These are new and exciting dimensions of Hamilton’s finest. 9/10 Trial Track: “Hazel” (Jack Oatmon)
 Glen Washington
Destiny (VP)
Washington’s music is for big people—adults. We’re talking mature, thoughtful singing. Strictly no slackness. Though thoroughly enjoyable, these are not party tunes. Rather, Destiny contains the kind of stuff that can be paired with a bottle of wine and enjoyed over dinner. Washington is either all about romance, as with the terrific title track or golden era-style roots reggae like the tune “When.” Inna foundation style, Destiny is chock full of classic riddims showcasing Washington’s smooth vocals. Some standouts are “All My Love,” which rides the Queen Majesty riddim, and “Until We Meet Again” on the same riddim as Marcia Griffiths’ “Feel Like Jumping” (originally the Ethiopians’ “Train to Skaville”). On the whole, it’s really tough to complain about an album that’s as comfortable and pleasant as this one. 9/10 Trial Track: “All My Love” (Erin MacLeod)
 Nat King Cole
Re: Generations (Capitol/EMI)
The morbid mixing-board-as-ouija-board treatment for ’50s pop icon Cole began in ’91with his daughter Natalie, who shares a track with Will.I.Am on this latest séance. Nas, the Roots, Bebel Gilberto, Cut Chemist, Amp Fiddler and two Marley kids also appear on these spiffy reworkings that, while generally innocuous acid-jazz exercises, are plenty playful—particularly samba numbers and bossa baubles like Bitter:Sweet’s “More and More of Your Amor.” The best bits are the bookends—Cee-Lo Green puts some snap and backbone into “Lush Like” while TV on the Radio knock “Nature Boy” up a notch. 7/10 Trial Track: “El Choclo” feat. Brazilian Girls (Rupert Bottenberg)
 Alice Russell
Pot of Gold (Six Degrees/Outside)
On her fourth disc, British soul singer Russell stays true to her retro roots, delivering a set that’s big on vocal dynamics but limited on musical range. That’s because she and her seven-man band rarely stray far from the ’60s-soul influence that permeates this disc. That being said, they really have the vintage vibe of tracks like “Universe” and “Got the Hunger?” down to a science, with the proficient band faithfully supplying sturdy support for Russell’s expansive vocals. The set’s most adventurous moment comes during her stripped-down interpretation of Gnarls Barkley’s “Crazy,” a nod to the contemporary even as Russell stays firmly planted in the past. 7.5/10 Trial Track: “Hesitate” (Gerard Dee)
Bucky Pizzarelli
The Guitar Quintet of… (Audiophile)
Soprano Summit
1975 and More (Arbors Jazz)
The former begins with five Beiderbecke piano pieces played by the full group, and ends with Bucky joined by daughter Mary, doing material from the repertoires of guitarists Carl Kress and Dick McDonough—a long overdue reissue. The Summit release begins with a CD featuring Kenny Davern and Bob Wilber’s group from a 1975 New Jersey Jazz Society outing while the second CD has more from them with Dick Hyman plus the Blue Three—Davern, Dick Wellstood and Bobby Rosengarden —and an outing by a quintet co-led by Ruby Braff and Wilber. A welcome addition to any collection. Both 9.5/10 Trial Tracks: Pizzarelli “In a Mist,” Soprano Summit “The Mooche” (Len Dobbin)
Mini CD Reviews
Various Jazz on a Summer’s Day (Charly) Excerpts from the 1958 film from the Newport Jazz Festival are highlighted by Anita O’Day’s famed pair of tracks. Mahalia Jackson adds to the value. 7.5 (LD)
Electroluminescent Measures (Black Mountain/Sonic Unyon) Hamilton, ON’s Ryan Ferguson displays a mastery of stew-thick synth psych, from the undulating to the overwhelming. 7.5 (RB)
Propagandhi Supporting Caste (Smallman/Warner) Even with a little more metal complexity this time around, these Winnipeggers don’t let their riffs cloud their punk rock blast. 7 (JC)
Bet.e B.Coming (Universal) Minus Stef, Quebec chanteuse plays it safe with bossa nova by numbers and shades of Sade. Couleur Jazz airplay assured. 6 (LC)
Rubies Explode From the Center (Tellé) Bedroom electropop from Sweden notable for ’80s synthpop ditty “I Feel Electric,” feat. Feist. 6 (LC)
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