da bookman's blog #173 - review by John Book
Arkana Music's brand of jazz cherishes the bop of he early and mid-60's, where it stays true to the form of the music while taking improvisation to any and all creative heights. In jazz, fans and afficionados enjoying flocking to their favorite albums because of the great music, the fantastic musicianship, the way all of this sounds in the right room taken in by the right microphones, many reasons are given for why an album becomes someone's personal favorite, and I feel that Hyprovisation (self-released) will be one of those albums.
The band (Ali Berkok-drums; Gord Mowat-bass; Mark Laver-saxophone, Jake Oelrichs-drums) take on an approach of embracing the theme of each song, and then moving behind the door, underneath it, within the keyhole, and sometimes hanging on the multi-locks. In other words, these guys know how to play with the kind of tenacity which comes from not only knowing your instrument, but knowing how to play music. All of the musicians stand-out, but Laver's sax work leans a bit to the ways of Sonny Rollins and Ornette Coleman. Berkok's playing is something you could listen to all day, whether it's that gentle wordplay that helps move the song along, or the kind of spacing Monk fans wille eat up like crazy. A track like "Brooding" could easily be a song of observation, looking at the sleekness of a rainy downtown street from the window of a limousine, or watching snow fall in reverse. Berkok's solo in "Brooding" is beautiful, one can only wonder what was in his mind as he was playing it. Also a standout in this recording is drummer Oelrichs, who dedicates himself to adding color within the main themes and solos, but knows how to say "I'M HERE" with a few flashy hits. While very different from drummers such as Brian Blade and Ben Perowsky, each of them know their position in the band and the music but each have the attitude of a drummer which will tell fellow drummers "how ya like me now?"
I enjoy jazz albums that sound good, and Hyprovisation very much has that healthy Hi-Pro Glow. The cover art is also very cool, nice to see an illustrated cover for a jazz album that isn't abstract, and has a sense of humor.
Panpot.ca - review by Russ Cooper
Mostly improvised up-tempo jazz debut from Toronto quintet— led by pianist and composer Ali Berkok— is a truly gorgeous discovery packed with remarkable musicianship. And despite the many food analogies, provided by Panpot letter writer Russ Cooper, this 10-track delight isn’t the least bit edible. Or is it?
Dear Jazz,
As I'm sitting here in my room, tired and full of grilled cheese sandwiches, I'm thinking of you. I'm remembering the times you scared the shit out of me; all your structure-less confusing blabber and your snobby hats... it was enough to make a zitty young man swear to play power chords forever. Sure, Sweet Georgia Brown was a wicked soundtrack when those big fake basketball players twirled balls on their noses for white people, but I felt you left me out in the cold on purpose. You were like an exotic restaurant for only those in the know. I was so hungry for music, but it seemed all you'd throw me was a splash of salty pickle brine or a dirty cigarette butt over your shoulder. For that, I give you a retroactive fuck you.
Yet, you never did let me turn my back completely. As I found out, you are much more complex than you seem. Each time I promised to never listen again, some juicy little jazz nugget would fly out of the back door of that restaurant and drip from my earlobe. I remember that time you cleverly supplanted yourself in the first time I fell in love with Naked Lunch. Your minion Ornette was pretty smooth in that one, I must say. Over the years, you've done well to challenge my listening ability. Major and minor in the same chord? More! More! Structure? It's always there, but you taught me that you can't look for it... know what it is you're listening to and you'll know the structure. You are dark and rich and greasy and clean and bright. And for your inherent knottiness, I thank you.
I have a couple reasons I'm writing you today. First, I wanted to say thanks for introducing me to your friend Arkana Music. I know he's from Toronto, but I won't hold that against him. He sounds pretty good, eh? It's kinda like a big, thick jazz burger. Maybe that's not the right thing to say. What I mean is that your buddy's record Hyprovisation is one of those records that you can really take a strong bite into. It's tender, yet still chewy and spicy. The arrangements are crisp and subtle and the musicianship is outstanding. It's oily but intricate enough to make me question what it's made of. I get it, but I don't understand it 100%. But really, I don't want to. This is a burger I want to enjoy for a long time.
Wrapping my brain around it now, it's kind of fitting that 'Arkana' means; 1) A deep secret, or; 2) Specialized knowledge or detail that is mysterious to the average person. Hey Jazz, you old SOB... how did you do that? Was this planned all along? You can somehow wheedle a record like this into my life, have me listen and write simultaneously, and the two are serendipitously consonant without me making the connection until this exact moment? My, you are a nimble one. I'm onto you. For that, I wink furtively.
The other thing was I wanted to tell you is that I love you. Don't ever stop confusing me.
Stay warm,
Russ Cooper
Exclaim! - review by David Dacks
Arkana Music are a project from pianist Ali Berkok. As noted in the band’s bio, their aim is to create energetic music by blurring the lines between compositional and improvised sections. The average listener will certainly pick up on this but the disc starts out politely, revealing its twisted charms further in. Breaking the ice with a head that wouldn’t seem out of place in Dave Brubeck or the Modern Jazz Quartet’s repertoire, the band switches deftly between double- and half-time. Berkok’s solo starts by tracing the oblique chord changes then commenting on them in a way that doesn’t follow the forward momentum of the song. The noir-ish bop groove becomes more melodic as the tempo accelerates and decelerates. There is a historical/retro feel to the motifs of these songs, such as the “Jitterbug Waltz”-like stride piano opening to “Drive.” But this is history traced from the ’30s to the present, especially when the band’s collective structures on slower songs such as “Brooding” let loose contemporary dissonance in seemingly familiar settings.(Independent)