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On a Short Path from Memory to Forgotten Jim Lewis, Andrew Downing, Jean Martin

Very good. Monsieur Délire, Québec

Altering the paradigm so that each instrument is as important as any other creates a more equitable and satisfying performance — and boosts the trumpet’s role. The WholeNote, Canada

The exquisite improvising trio of Jim Lewis, trumpet; Andrew Downing,double-bass; and Jean Martin, drums and trumophone, launch On a Short Path from Memory to Forgotten. This passionate and lyrical sequence of group improvisations introduces one of Toronto’s extraordinary creative music ensembles. The sound of an orchestra in a cosy little trio package.

On a Short Path from Memory to Forgotten

Jim Lewis, Andrew Downing, Jean Martin

In the press

  • François Couture, Monsieur Délire, July 13, 2010
    Very good.
  • Ken Waxman, The WholeNote, no. 15:10, July 1, 2010
    Altering the paradigm so that each instrument is as important as any other creates a more equitable and satisfying performance — and boosts the trumpet’s role.

Listening Diary

François Couture, Monsieur Délire, July 13, 2010

An avant-jazz trumpet/bass/drums trio. Very lively, the music leaps at you, shining and turning. Yet it’s not music to dance to. Still, Groove has a good one (groove), and the contorsions in Fourteen do sketch out something that could sweep you off your feet. Consistent improvisation, occasionally showing its teeth, delivered in small-to-medium doses (2 to 10 minutes per portion). Very good.

Very good.

Review

Ken Waxman, The WholeNote, no. 15:10, July 1, 2010

Altering the paradigm so that each instrument is as important as any other creates a more equitable and satisfying performance — and boosts the trumpet’s role. Toronto’s Jim Lewis, Andrew Downing and Jean Martin demonstrate this On a Short Path from Memory to Forgotten (Barnyard Records BR 0311 www.barnyardrecords.com). Consisting of 10 instant compositions, there is no foreground or background instrument. One tune for example could be a capriccio, as Lewis’ joyful trumpet blasts define the theme; another is dependent on Downing’s thumping bass pulsations; and almost all are illuminated more by the splashes of multiphonic color Martin creates with gamelan-like bell tones and triangle resonation than a steady beat from his regular kit. Showcasing Lewis’ phrasing, which ranges from staccato heraldic blasts to graceful flutters, is Eight, the tune in which his moderated a capella puffs give way to a rubato, double-time version of theme and finally to aviary chirps plus whistling resounds. These intertwine with martial rolls and rebounds from Martin and walking slap bass from Downing.

Altering the paradigm so that each instrument is as important as any other creates a more equitable and satisfying performance — and boosts the trumpet’s role.