World Music Reviews

Wild Unit 2 by Canadien, Michel Cusson, is a pretty much a straight-ahead, mostly instrumental jazz effort with slight fusional tendencies. The album features a rich tonal spectrum comprised of clean-tone guitar work, sublime bass guitar, a tactful horn section, savvy yet subtle percussion, seamless keyboard voicings, and classy sax extempore. The music can be characterized as upbeat, tasty, smooth jazz that aims for the accessible grooves that are voiced by the horn section, bass, and rhythm guitar. This style of jazz is reminiscent of feel-good summer jazz festivals in a crowded outdoor park, tropical clubs nestled on the beach shores of Florida or the Caribbean islands with live jazz sailing out over the soothing ocean late in the afternoon and into the early evening on lazy vacation days, and cigar smoke-filled, classy jazz lounges in the upscale areas of downtown on a Friday night.

Though Cusson does explore some interesting tonality on this album, his purpose does not seem to be to pioneer new areas of tonality and musical abstraction, but rather to put forth an enjoyable collection of smooth jazz tracks that highlight the interesting and well-conceived compositions he has created with melodic themes that are soulful, accessible, and well-resolved, though be it of a thoughtful and non-trivial natured resolution. The rhythms and progressions are easy to grasp yet offer some goodly feel, funk, and harmonization that will appeal to both listeners of a musically trained inclination and otherwise. The guitar work may not match up to the best progressive, jazz, or fusion players out there, but it is well-integrated, well-produced, and well-balanced within the overall musical soundscape, and is savvy enough that I venture to guess that most musicians will enjoy it. The horn section and sax lend the music its definitive character of sophisticated class.

Wild Unit 2 is a tasteful selection for listening pleasure at summer gatherings, a relaxing day at the beach, or cocktail parties. Though I intend no slight toward the instrumental proficiency of the players in saying this, I think that listeners would be best suited to approaching this album with their technical attitudes checked in at the door because the value of this music lies in its entertaining nature and enjoyable listen that it so generously offers. And, that approach to the music being the baseline taken, I think that most musicians will also appreciate the balance that Cusson has struck in containing any impulses of flamboyent technical proficiency (that might otherwise overcomplicate the music) with the production of tactful music. Though this is not to say the level of proficiency is lacking in any way, because there is definitely some good playing here, and on different instruments too. The mark of good music is that the mechanics and technique involved are subservient to the musical vision and concept that the artist is striving for. Cusson clearly demonstrates that he has hit that mark on this album. It is solid from start to finish and enjoyable the whole way.

~ Christopher Ruel ~ www.ChrisRuel.com ~ Chris@ChrisRuel.com

Canadien composer Michel Cusson has constructed a masterpiece in world music on his Camino album. If you are a follower of world music, you will surely want to add this CD to your collection. If you are not familiar with world music, you should check out this CD to see what it is all about. Cusson has pulled an amazing array of styles together into this diverse, eclectic collage of internationally flavored compositions. Though the composition is without a doubt the forte and focal point of the effort, the multi-faceted instrumentation is superb in its realization of the extraordinarily well conceived musical vision. The combination of distinctive instruments that are seamlessly integrated into a coherent tonal tapestry that beautifully articulate and accentuate the many widely varying musical styles that are covered. The command that Cusson's composition demonstrates over these many international styles is staggering when considering the details and nuances that he has not only captured in the composition, but also in the execution. Cusson covers many diverse styles with the effectiveness of masters dedicated to any one of the specific genres.

Camino is an instrumental effort that uses Cusson's inventive arrangements to showcase some finely phrased technicianry among a host of instruments tactfully played by Cusson and other players. Though the music has a mellow, deeply felt center, there are also some lively and more aggressive sections that compliment the more beguiling sections. In addition to his broadly scoped coverage of widely varying styles, Cusson shows a great skill for mixing up the rhythms, dynamics, harmonies, melodies, and voicings, as well. The level of musical insight and knowledge demonstrated by Cusson on Camino is truly impressive, especially when considering the easily accessible content that he delivers his unending creativity. This album clearly distinguishes Cusson as a great composer of modern music. Cusson is not constrained by any inhibitions of conventional musical boundaries and the end result is fantastic.

Cusson's compositions sweep across the styles of various traditional and modern genres with the seamless ease of a summer wind blowing across the nations of the world through time as though it were absorbing and carrying the music from each nation as it passed. The application of different instruments to accentuate cultural voicings on Camino is profound to behold. Cusson even disarms any skepticism listeners might have pertaining to the accordian that he deploys with amazing effect. Cusson's artful application of the accordian single-handedly changed my entire perspective on that instrument.

Though it is not altogether bereft of frenzied fret scaling, don't expect a lot of speedy guitar work on this album because that is not the intent the composer Michel Cusson. But, do come prepared to listen to some superb arrangements that bring the meta-genre of world music to light. And, if you are a fan of exotic, flavorful music with complex yet accessible musical composition, do check this one out. Camino is a highly enjoyable album that spans a wide breadth of styles and emotions with subtle precision.

~ Christopher Ruel ~ www.ChrisRuel.com ~ Chris@ChrisRuel.com ~ Chris Ruel's Monthly Spotlight

Gipsyole, the debut release from the Los Ninos de Sara quartet of Alabino, is a spirited, absorbing exposition of Spanish-flavored music that establishes the ensemble as a legitimate contender in the world music arena. A quick perusal of the exterior of the CD sleave illustrating the quartet with acoustic guitarist is somewhat misleading because this album is far richer in musical texture than what is displayed on the sleave. The musical ensemble that accompanies the Los Ninos de Sara quartet greatly enhances the musical experience with a depth of musical texture that is far beyond what the first impression of the CD cover conveys. And, this well-constructed, richly textured musical accompaniment that provides a fertile context for the quartet, is supported with superb production that escalates the worthiness and enjoyability of the entire effort to a notable caliber. A more careful discernment of the CD liner note reveals the true nature of this effort that involves many diverse instruments with first rate production.

The pleasant surprise that is presented by the richly textured context that is provided for the quartet to perform is furthered by the quality of the compositional content and guitar work that is performed within this orchestral context that features exquisitely phrased and voiced horn and piano accompaniment. Unlike some other performers of similar style that fall into the pitfall of loose playing that lacks precision, the Los Ninos de Sara players demonstrate an excellent musical proficiency with their attention to precision in articulation and timing, texturing of tones, and integration of instrumentation to produce a complete and cohesive sound. This clearly is not a band of wandering gypsies without musical training, but is instead a band of well-trained musicians that have a clear understanding of the complex music they are executing with tight, calculated precision. And, the supporting ensemble has been assembled with talented professionals worthy of the world music they engage.

All of these things aside, the forte of Gipsyole is without a doubt the excellent composition and the well-felt playing that articulates it. The compositions on Gipsyole strike a very enjoyable balance between complex harmonies, disarming melody lines, carefully crafted chordal arrangements, rhythmic tempos, deep feeling, and conducive listener accessibility. The depth of the the compositional craftwork is sufficient to keep the attention of a musically educated audience but is also accessible enough to draw the interest of a much wider general audience. The musical style draws from a number of world music styles that are primarily oriented around the gypsy, flamenco, Spanish and Latin sounds and rhythms with a hint of Cuban and salsa stylisms in the instrumentation. But, the continuous weaving of tasty harmonies and appealing melody lines that are voiced by different instruments brings a surprising degree of sophistication that is beyond this simplistic summary of the style encompassed. The refined instrumentation is constrasted by the somewhat dramatic vocals that have a tendency towards emotional expressionism, as may be expected from gypsy-style music. The end result of all of these factors is a unique and compelling musical vision that draws the listener into the depth of this world music experience.

The album covers a wide range of appealing emotions, but is mainly upbeat and lively. However, this positive force that drives the music is greatly complemented by the CD's standout track, "Me Encuentro En Tu Desierte", that is destined to become a classic for summertime radio play. This track has a bittersweet, haunting theme that is set to a Carribean-flavored progression that is like forlorn sorrow floating on an ocean breeze that comforts it. The contrast that "Me Encuentro En Tu Desierte" bears to the remainder of the album is a stark contrast and because it comes toward the end of the CD, it comes somewhat as a surprise because it demonstrates an emotional depth of a type that was not revealed in earlier tracks. But, the music is spirited throughout and full of projection of a variety of emotions.

The depth of composition, crafty execution, and fantastic production exceeded any expectations I may have had for Gipsyole. Connoisseurs of world music with a penchant for Spanish and Latin flavoring will be delighted to indulge in this harmonious celebration of gypsy music. But the audience of Gipsyole is undoubtedly not limited to connoisseurs because this music may also bring listening pleasure to fans of more commercial, vocal-based Latin music with the added bonus of more satisfying musical accompaniment en gratis with more long-lasting staying power than the average commercial effort. This music should be widely accessibility to and enjoyed by a general audience, and fans of the musical style of bands like Acoustic Alchemy will likely enjoy this CD. A superb debut release from the group that sets a high water mark that will challenge them to exceed this performance on ensuing efforts.

~ Christopher Ruel ~ www.ChrisRuel.com ~ Chris@ChrisRuel.com ~ Chris Ruel's Monthly Spotlight

Iludhra from Dzyan is a boundary-stretching, instrumental venture into the abstract realm of complex harmonization and tonal texturing. Dzyan explores many unusual sources of tonality outside of the European frame, such as Indian, Middle-Eastern, African, and Egyptian, among others. He conducts this tonal exploration with clean-toned acoustic and electric guitars that are layered to create richly textured harmonies centered primarily around non-diatonic harmonies and uncommonly utilized modes. In addition to the unusual harmonization that is explored, Dzyan also incorporates some unusual rhythms and meters into the unusual compositions that conjure images of ancient mysticism, occult, pagan ceremonies, Eastern spiritualism, and drug-induced, hypnotic, psychedelic journeys.

One of the most striking aspects of the music on Iludhra is that Dzyan not only explores outside harmonies, but he does it with a musical vision that captures a distinctive feeling and musical vision that gives meaning to the tonality that he has come to terms with. Though the lack of familiarity of the Western audience with the unusual tonality that Dzyan deploys will undoubtedly present an obstacle in their ability to grasp it fully upon first listening, Dzyan makes great strides in tearing down the cultural walls that separate Western listeners from the Eastern harmonization that he builds upon. And though not based upon any speedy or fusionish advanced guitar technique, the style of guitar that Dzyan utilizes is intricate and impressive in its own right because of the difficult tonality that it articulates.

Perhaps it is necessary to understand the origin of "Dzyan" to grasp the musical vision of Iludhra. The following is an excerpt from a description of the origins of "Dzyan" that captures the distinctive feeling that the album projects:

The Book of Dzyan, Being a Manuscript Curiously Received by Helena Petrovna Blavatsky with Diverse & Rare Texts of Related Interest

Edited and Introduced by Tim Maroney -

Blavatsky’s influence spread beyond the occult world, contributing to the 19th century’s “strange tale” and to 20th century horror. Her views on cyclic evolution through space and time, expressed in the poetic and evocative Stanzas of Dzyan, bridge the divide between visionary spirituality and supernatural storytelling, between magic and fiction.

To the author of the Stanzas of Dzyan, the cycle of the cosmos serves a greater spiritual purpose even while it ensnares an eternal procession of fantastic beings in illusion. The seminal horror writer H. P. Lovecraft contrasted his nihilistic work with Blavatsky’s Theosophy, and filled his cosmos instead with vast, uncaring, and incomprehensible forces. The dynamic between the two writers demonstrates skepticism and speculation not as conflicts but as kindred mythological responses to science.

Iludha is an interesting album that should attract the interest of musicians because of its exploration of non-standard modes, tonality, and meters. I could see this album easily attracting examination in an academic environment. But, beyond this academic value, one of the major accomplishments that Dzyan has achieved on this album is that he has managed to cross the cultural boundaries between the foriegn musical concepts that he explores and the Western listening audience that the music is presented.

~ Christopher Ruel ~ www.ChrisRuel.com ~ Chris@ChrisRuel.com ~ Chris Ruel's Monthly Spotlight

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