SPOOL RELEASES

Creative Orchestra (Guelph) 2007

 

Congratulations to The Peggy Lee Band for the 2014 Juno Nomination!

LINE 24

Worlds Apart

The Peggy Lee Band:
Peggy Lee, cello
Brad Turner, trumpet and flugelhorn
Jeremy Berkman, trombone
Tony Wilson, electric guitar
Andre Lachance, bass
Dylan van der Schyff, drums, percussion, electronics, trumpet,
with Ron Samworth, electric guitar.

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What the critics are saying:

"Peggy Lee's third album with her band adds little to her writing style, but it perfects it to a new level. Picking up where Sounds from the Big House had left, the album showcases even more assured writing and a group of musicians completely attuned to each other. Except for bassist Andre Lechance replacing Chris Tarry, the lineup remains the same. Brad Turner's trumpet is still the lyrical asset of the ensemble; Tony Wilson's discreet guitar work provides the mellow, slightly sad moods; Jeremy Berkman's trombone and Lee's cello join in beautiful melodic dialogues (especially in "Soft Scrape"); Dylan van der Schyff lays down flexible rhythms and flourishes of percussive ornaments. Talking Pictures' guitarist, Ron Samworth, joins in on four of the album's nine cuts. The first two pieces, "Worlds Apart" and "Soft Scrape," stand out as two of the group's best recordings. Seguing, these pieces encompass its range, from a tightly written vamp to tender melodies and freely improvised passages. "Spells" features a folky acoustic guitar intro, while "Old One Knows" (penned by Wilson) provides a quiet guitar interlude. "A Door" once again surfs the waters of this particular brand of seductive Vancouver avant-garde jazz (think Talking Pictures and Ben Monder, but also Montreal's NOMA), while "Lookout" ends the proceedings with a nicely chiseled trumpet-led ballad. Even at its most vehement, Lee's music is never muscular or virtuosic. She focuses on moods, pretty yet challenging melodies, and cross-stylistic arrangements that evolve from within jazz but ooze out of its avant end. And on this album she does it better than before, albeit not differently. Recommended."

— François Couture, All Music Guide.

<"Cellist Peggy Lee's latest fuses jazz with folk-ish and rock-ish elements, adding tinctures of free improv and classical tossed in for seasoning. It's an appetizing mix, played by a band-Brad Turner, trumpet, cornet and flugelhorn; Jeremy Berkman, trombone; Lee, cello; Tony Wilson, guitars; Andre Lechance, basses; Dylan van der Schyff, drums; Ron Samworth, guitars-that balances the right amount of exactitude and looseness.

Minimalism has long been a fertile area for composers with a jazz-fusion orientation. Repetitive, evolving figures behind soloists go back a long way, but it took the marriage between jazz and rock to exploit the techniques to best advantage. Lee does it well on tunes like "Beekeeper's Club," whereupon a mixed-meter ostinato builds behind guitar and trumpet solos, creating something like an aural travelogue-like watching a fascinating landscape pass by your window on a cross-country drive. The soloists are fine, yet it's the splendid compositions and the way they're interpreted by the collective that counts. Lee is fast becoming one of my favorite contemporary musicians. More, please."

Chris Kelsey, Jazz Times

"Worlds Apart by Canadian cellist Peggy Lee is also out there in the far reaches, but ut has a bit more rhyme and reason. ...Everyone in the band gets to stretch out, but there's always a sense of order and intelligence in this twisted music. Put this next to the work of Dave Douglas and Don Byron. it's strange but has enough familiarlity to draw you and keep you listening."

—Jerome Wilson, Cadence