One of the true measures of artistic and creative ability is the discipline of limited means — what to do with a ukulele, a suitcase and a repertoire of charmingly idiosyncratic melodies whose execution has a built in tendency to fall apart? Myk Freedman’s Saint Dirt Elementary School ensemble have long since mastered the inverse improvisation aesthetic of deconstructing into nothingness while maintaining forward motion. Haynes and Martin have not only approached Freedman’s melodies with sympathy and respect but have extended the tribute to include some of the same wondrous dissolutions, as well as some taut and focused explorations. One of the aspects straightforward composition affords improvisers is the freedom to inhabit and expand without getting ensnared in complexity. Haynes and Martin have succeeded in compounding magic with more magic and opening a sunny space for all.

It’s common for young musicians to do projects of music by their heroes just to pick up the vibe and, maybe, some reflected validation. But saxophonist Kyle Brenders takes this gambit to a whole other level by recording compositions by his mentor, modernist visionary Anthony Braxton, with the man himself. Breathtakingly audacious, yes, but when listening to this 93-minute, two-CD release it becomes apparent that the twosome are technically well-matched. This balanced pairing perform two of Braxton’s uniquely imaginative pieces with energy, precision and creativity. Long composed parts are executed with vigour, yielding to improvised sections that flow logically from the preceding notated materials. And it’s the improv sections where Brenders shows he is thoroughly equipped to lock horns with the master on his turf and at his level. By turns, the pair act as foils/accompanists for one another, finishing phrases and inspiring and/or goading each other to further heights. Recommended.

This release by Rainer Wiens plots the latest facet of musical progression by one of Canada’s most creative artists. The subtext of groove provides a rich base for compositions that are populated by a multi-level chorus of songs. These songs range from the literal representations of birds to interwoven melodies that dance with each other and have a remarkable habit of staying in the listener’s memory. Wiens’ extensive study of West African rhythms has informed much of this CD but it’s nowhere near as straightforward as the simple application of rhythms. In No Obvious Solution, for example, the groove cooks happily along, and one rests comfortably in its wake, but then the rhythms morph into permutations that leave Africa for parts unknown. This extrapolation is the result of a carefully thought-out method that takes each instrumental part and rephrases it to the point of vertigo — quite an ear-opening and remarkable experience. Wiens’ sophisticated use of rhythm plus an adherence to clear and beautiful harmonic material has borne fruit in a music that someone can not only react to as a listener but, like all good popular music, can also comfortably inhabit as a participant. However, the music isn’t the only thing that informs this CD. The title isn’t simply a political slogan; it represents a lived experience.

What’s the story behind the title?

Wiens: I was working on this music at the same time the political demonstrations were happening in Burma in 2007 and it brought up memories of a trip I made there in 1991. During that journey, I was smuggled across the border from Thailand to visit with the rebel Karen tribesmen. It was an incredible experience. Among many amazing things that happened there was a gamelan performance in the middle of the jungle by musicians who had to pile all their instruments on the backs of elephants and flee Burma because they made music that criticized the government. In spite of incredible hardship, the people in this camp were friendly and generous and I felt humbled by their ability to smile in the face of tragedy. As a result, I developed a strong attachment to this warm and courageous community. Sadly, all the friends I met there were later killed in raids by the Burmese military.

And how did this affect you in 2007

Wiens: This memory gave me the emotional push to complete the music, get the ensemble organized and make the CD. I then decided to dedicate all the proceeds to the people of Burma via the Buddhist monks, who have set up an aid network that bypasses the military dictatorship.