Album reviews: Adrian Sutherland, Ariana Grande, Charles Lloyd, Pablo Heras-Casado

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This article was published 15/03/2024 (931 days ago), so information in it may no longer be current.

ROOTS ROCK

Adrian Sutherland

Precious Diamonds (Midnight Shine)

After a decade as leader and frontman of Indigenous rock band Midnight Shine, Adrian Sutherland released his debut solo album, When the Magic Hits, in the middle of the pandemic. Sutherland had made waves with his rousing 2019 protest song, Politician Man, which shone a stark spotlight on the water problems of his home in Attawapiskat First Nation, but his full-length record offered a fuller portrait, painting Sutherland as a golden-throated singer who situates his lyrics of hope and struggle in richly melodic, guitar-based roots-rock.

When the Magic Hits was made remotely during the lockdown of 2020, recorded in Sutherland’s home studio — a converted shipping container — while he shared files and notes electronically with his producers, Colin Linden and Tim Veseley. For Precious Diamonds, Sutherland spent a couple of weeks in Nashville recording at Linden’s home studio, and the warmth and spontaneity of the setting resonates throughout these 10 songs.

Linden, a formidable Canadian roots/blues guitarist and producer, had his first-call crew on hand, and the rich performances here are a lush complement to Sutherland’s greatest strength — his rich, natural tenor voice.

Whether he’s delivering a longing lament for the horrors wrought by residential schools (Boogeyman) or tackling more optimistic tunes, as on Diamonds or Let it Shine, Sutherland’s vocals soar above their subject matter.

He’s also recorded, for the first time, two songs written in Omushkegowuk Cree — Notawe (Father) and Kiyash (Before). The first is a bluesy folk tune, featuring beautifully mournful saxophone from Jim Hoke, while the second is an anthemic roots rocker that may bring the sound of Kashtin to mind.

The singer-songwriter also digs a little deeper into his rock ’n’ roll side for the personal insights and Tom Cochrane feel of My Rebel Spirit (featuring the soulful harmonica of Mickey Raphael), and he and Linden lean heavily into the blues for the simmering Precious, on which a propulsive, swampy guitar riff is offset by Sutherland’s powwow chanting, to create an intoxicating vibe that underlines the song’s simple message — this land is precious. ★★★★ out of five

Stream: My Rebel Spirit; Kiyash (Before); Precious.

— John Kendle

POP

Ariana Grande

Eternal Sunshine (Republic)

The new Ariana Grande era, marked by her seventh studio album and first in nearly four years, began with a question — “Yes, And?”

The single — named after a general rule of thumb in improvisational comedy — marked a new musical pivot for the performer. Sure, she was working with one of the greatest pop producers of all time again — the Swedish powerhouse Max Martin — but now, she was filtering her earworm hooks through ’90s house music. The bridge has echoes of Vogue, and its lyrics recall a kind of Lady Gaga Born This Way empowerment (an example: “Boy, come on, put your lipstick on/No one can tell you nothin’”) while also offering a public defence to tabloid representation (“Don’t comment on my body, do not reply.”) It’s a great song, but it doesn’t include Grande’s signature runs; there’s no larger-than-life vocal moment, what her listeners have come to know her for. In some ways, it makes Yes, And? a bit of a red herring on Eternal Sunshine.

Belt she does throughout the release — her idiosyncratic vocal tone stretches across the funky, finger-snapping, shimmery disco of Bye. There’s her breathy falsetto on Don’t Wanna Break Up, the pop Supernatural, and the wobbly R&B pop of True Story.

There’s a kind of Y2K revivalism here done in distinct Grande fashion — and at least partially inspired by her girl group-inspired track Fantasize, which leaked on TikTok last summer. That’s evident on a reimagination of The Boy Is Mine, inspired by the Brandy and Monica classic, with a dramatic tempo change.

Any missteps are blips — an overly explicative intro and interlude likely included to give the record a kind of “concept album” shape, as Grande has said in interviews, which could’ve been excised. The contradiction, of course, is that an apparently honesty on Grande’s albums has always been a highlight: like in the closer Ordinary Things, which includes a recording of her grandma.

For the listener, it is a treat. Grande has released yet another strong R&B-pop record in which complications are articulated but now maybe never solved, and with her range front and centre. Yes, and it is worth a few listens. ★★★★ out of five

Stream: True Story; Yes, And?; Fantasize

—By Maria Sherman

JAZZ

Charles Lloyd

The Sky Will Be There Tomorrow (Blue Note)

Reed player Charles Lloyd is a truly significant jazz master. His wonderful career spans decades and a close colleague once assured me he is a beautiful person in all regards (“He has already earned his wings,” he said.). This new two-disc release is remarkable proof of his virtuosity and depth of musical emotion. By the way, the release day for this album is today, March 15, his 86th birthday.

This double album with a new quartet has Jason Moran on piano, Larry Grenadier on bass and Brian Blade on drums. It is extraordinary and I would defy anyone who didn’t know Lloyd to guess his age. His colleagues are all top-of-list musicians, making this review one of the easiest I have ever written.

While there are up-tempo tracks over the two CDs, the over-riding mood is one of often free-floating peace and beauty. Lloyd’s style on saxophone and flute has frequent flurries of notes and flying glissandi without leaving a base that communicates his emotional involvement with his music. There has always been a clear spiritual component to his music, grounding it even more. Both eastern and western spirituality shine through, meaning his communication with a listener is more than casual.

What of the music? There are tracks that allow each player to contribute fully, with amazing solos all around. Bassist Grenadier’s opening to The Ghost Of Lady Day is beautiful, as is Pianist Moran’s saucy intro to Monk’s Dance. The title track is a tour de force with a relentless pulse and terrific soloing all around. Cape To Cairo is a favourite for me among many. It is introspective and serious in the sense of the intensity it offers. Booker’s Garden, Late Bloom, the sadness within The Lonely One, Balm In Gilead, all 15 tracks simply get better with each listen. As you can guess, this is a major album. Happy birthday, Charles — and I really mean the “many more.” ★★★★★ out of five

Stream: Defiant; Tender Warrior; The Sky will Still Be There Tomorrow

— Keith Black

CLASSICAL

Pablo Heras-Casado

Mahler Chamber Orchestra (Harmonia Mundi)

Pablo Heras-Casado leads the Mahler Chamber Orchestra through three neoclassical masterpieces of the 1920s, evoking the world of Italian commedia dell’arte in this upcoming release.

Stravinsky’s Pulcinella Suite, derived from his prior ballet score commissioned by Russian impresario Sergei Diaghilev features nine compact movements. The nomadic orchestra founded in 1997 by Claudio Abbado and currently comprised of 45 musicians hailing from 20 different nations brings colour and texture to each of its short sections.

Particular highlights include sparkling opener I. Sinfonia: Allegro moderato and the more lushly lyrical II. Serenata: Larghetto. The players prove especially nimble in IV. Tarantella and V. Toccata: Allegro, as well as a rousing IX: Finale: Allegro assai.

Falla’s Concerto for Harpsichord and Five Instruments, composed for Polish harpsichordist Wanda Landowska, becomes a revelation in itself, with the instrument typically associated with Baroque music. Benjamin Alard performing on a Pleyel Grand Model harpsichord keeps things crisp and light, interweaving his contrapuntal lines with the orchestra throughout its three movements, including sprightly opening Allegro, more contemplative Lento, before an ebullient finale Vivace.

The same instrument links to the album’s third offering, Falla’s El Retablo de Maese Pedro, a.k.a Master Peter’s Puppet Show. Tenor Airam Hernandez as Maese Pedro joins forces with bass-baritone Jose Antonio Lopez’s Don Quiojote, as well as boy soprano Hector Lopez de Ayala Uribe as El Trujaman, in bringing this programmatic work based on an episode from Don Quixote to life. ★★★★½ out of five

Stream: Concerto for Harpsichord and Five Instruments; Pulcinella Suite

– Holly Harris