Pianist David Braid’s first solo CD is filled with two distinct pallets of colour. Three of the eight tracks are written for prepared piano; the remaining five are more traditional in all senses of the word and have been beautifully captured thanks to Dixon Van Winkle’s recording skills along with piano technician Marc Decorte making sure the instruments were in top form.
The “personally tempered” piano tracks produce mixed results. Composer Jerome Kern’s “The Way You Look Tonight” (snagging Best Original Song in the 1936 Academy Awards) is miles away from the original. It’s like a wild, perhaps induced, dream that puts the famous tune through a series of variations, demonstrating Braid’s nimble technique and an intriguing array of hues (notably a few miniature cymbals), but only makes the ear crave a few measures of Fred Astaire’s dulcet tones as instant tonic. The vaguely geographical “Richmond Square” fires on all cylinders. The opening/closing train and drums (somewhat reminiscent of Villa-Lobos) segments deftly bookend the generous filling that needs make no apologies to its decidedly “Take Five” feel. A bevy of nervous repeated notes (a compositional hallmark of the album) and minimalist construction pave the way for marvellous right-hand improvisations that most assuredly are not square. “春江花月夜” (“Spring Garden Night”) is the pick of the pre-set litter. Awash with light rain and wind, this soundscape—replete with “pitchy” steel drum effects—should partner up with an equally inventive filmmaker and fully exploit the vast wealth and possibility of its images.
Four of the five vrai piano compositions are curiously at one with the notion of Études. “Le Phare” with its Perpetuum mobile energy and wisps of dissonance has a siren-like effect finally relieved by a joyful scale as this musical lighthouse gracefully shuts down. Attentive ears will ferret out a snippet from Camille Saint-Saëns’ Danse Macabre tucked away in an inner voice. Similar in style to “Le Phare,” “El Castillo Interior” uses a much broader range, compelling syncopation and welcome triplets as this castle is fully explored—including some biting harmonic excursions—from the inside out. “Semi-unconditional” (marvellously at one with the notion of very unique) features slow, introspective lines and a rare chorale-like chord progression with, once again, repeated notes gluing everything together. A rhapsodic flurry paves the way to a positive outcome and a wonderfully calm adieu. Braid’s longest composition takes a fanciful view of a day in the life. Bai Tian’s (possibly the sound artist from Chengdu?) rolls along with confidence prefacing a more reflective middle section which delves into his inner child and a few measures of adolescent awkwardness before being energized to a state of jazzy agitation. This day winds down with delectable repose, oh yeah!
The final offering, “Reverence,” artfully verging on all things gospel, is infectious from first note to last. Braid seems most comfortable in this rollicking skin that even manages a fleeting view of East meets West. The heartfelt delivery is in the best tradition of Oscar Peterson, concluding this solo outing with memorable pizzazz. JWR