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1.
T I L T I N G - Wren 08:29
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2.
T I L T I N G - Stare 05:23
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3.
T I L T I N G - Flock 08:38
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4.
T I L T I N G - Drum Intro 01:38
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5.
T I L T I N G - Holy Seven 09:24
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6.
T I L T I N G - APART (from Conlon Nancarrow Study for Player Piano No. 6) 08:18
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7.
T I L T I N G - Locked 09:18
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8.
T I L T I N G - Novice 04:39
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about

Tilting. Holy Seven - Musicworks Sept 2014

Barnyard Records, BRO 336.One of the linchpins of Montreal’s Musique Actuelle potpourri, bassist Nicolas Caloia is, underneath it all, a jazz musician, and this session shows off his mastery of the idiom. With the group Tilting, he elaborates his take on jazz by utilizing the talents of fellow travellers baritone saxophonist Jean Derome, pianist Guillaume Dostaler, drummer Isaiah Ceccarelli, and—on one track each—bass clarinetist Lori Freedman and alto saxophonist Yves Charuest. What that means is that Caloia’s eight compositions tilt towards the freer side of free bop, without ever abandoning underlying rhythms.

With Caloia’s bass sonority directing from behind, and Derome’s bulky low-pitched smears upfront, the band still works effectively to ensure that weightiness doesn’t turn into logginess. Dostaler is the key here, whether he’s outputting processional cadenzas or comping decorously to knit together seemingly disparate parts. “Holy Seven Fields,” the most traditional of the tunes, has a heavy Charles Mingus influence, with spirited piano timbres pushing Derome’s slurps upwards to middle-register expression.

The title of “Apart (for Conlon Nancarrow)” must be an inside joke, since Nancarrow’s super-swift pianism isn’t referred to at all; instead, “Apart” is made memorable by a straightahead bass solo. “Wren” balances on Caloia’s fluid continuum as dramatic baritone smears take centre stage.

Unsurprisingly, Freedman’s bass clarinet adds some needed buoyancy when harmonized with Derome’s sax on “Flox,” together attaining a climax of tremolo vibrations. As for Charuest, his peeps and judders on “Locked” are backed by spiccato string-pulls from the bassist that create the most dissonant track. Here, a frenzied reed counterpoint of shrieked notes finally reassembles amoeba-like into a shimmering whole.

Tilting may be the band’s name, but it’s evident that the only direction it leans towards is one made up of unique compositions and performances.
Ken Waxman

www.musicworks.ca/reviews/review-spotlight/tilting-holy-seven

credits

released September 17, 2013

T I L T I N G
Jean Derome - saxophones baryton et alto et flûte basse
Isaiah Ceccarelli - batterie
Guillaume Dostaler - piano
Nicolas Caloia – contrebasse
Lori Freedman – clarinet basse (track 3)
Yves Charuest – saxophone alto (track 7)

musique de Nicolas Caloia et Tilting
Enregistrement : Robert Langois 24,25 avril 2013, Sudio 270, Montreal
Mixage et Montage Nicolas Caloia et Robert Langois
Matricage : Harris Newman Greymarket Mastering
Artwork and Design : Nicolas Caloia
Layout Jean Martin

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Musique Rayonnante Montreal, Québec

Musique Rayonnante proposes an online audio collection which offers a sample of some of the open and abstract music coming out of Montreal in the early 21 century.

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