Canada Day III (Unmastered Edition)

Canada Day, Chris Dingman, Garth Stevenson, Harris Eisenstadt, Matt Bauder, Nate Wooley

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Original Recording Format: PCM 88k
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Harris sometimes plays quite hard on the cymbals; in the released masters, in forte passages, there was a thick wash of cymbals and vibes that obscured the saxophone and trumpet. In the unmastered version, the emotional impact of those passages is greater, because there’s much more clarity – you can hear the subtle tonal effects in trumpeter Nate Wooley’s playing. It’s an excellent album that can now be enjoyed in the highest fidelity.
– Mark Werlin, NativeDSD & All About Jazz


Canada Day III (Unmastered Edition) is an Exclusive NativeDSD release in Stereo DSD 512, DSD 256, DSD 128 and DSD 64. For this title we have assembled the original unmastered mixes, presented without peak limiting, compression or any other mastering or processing. The result is much more dynamic, transparent, spacious and timbrally pure. It fully benefits from NativeDSD’s Higher Rates Program.

Harris Eisenstadt’s Canada Day band returns with an album of great tunes and spirited playing, showcasing a composer, drummer and bandleader who really loves music in all its diversity and infuses that energy and a truly distinctive voice into everything he does. And his band members respond in kind.

Check out for example Nate Wooley’s remarkable Harmon mute solo on “The Magician of Lublin,” where he unexpectedly inserts lone open notes for contrast and punctuation. Or Matt Bauder’s solo on “Nosey Parker,” which seems to assay several vintage sax styles with both real reverence and a sly sort of parodistic humor. Throughout the album there are many instances of subtle surprise, crafty interplay and underlying complexities of tone that make for a richer listening experience.

No doubt this finely-tuned level of engagement is partly the result of the band living with these pieces for a year and coming directly off the road to record. Says Harris: “I’m going for something visceral for sure, and not overly solemn or serious…. I do think that the fluidity of solo approaches comes from playing the pieces enough to not have to think about what might work. Most importantly, I want the musicians to be able to run with their instincts and be themselves no matter what.”

At the time of its release in 2012, Harris reflected on his place in the Jazz Drumming tradition: “It has been a fantastic time to be part of the tradition, these almost-twenty years since I chose this life path. The generations or two older than me brought all these other approaches into jazz drumming – people like Joey Baron, Tom Rainey, Jim Black, Mike Sarin, Kenny Wollesen have influenced me greatly. It has also become much more common to find very interesting drummer/composer/leaders who are not just the nominal heads of blowing sessions, but drummers with powerful composer/leader concepts – Gerry Hemingway and John Hollenbeck for example…Rock, textural free improvisation, African and Diaspora drum traditions and 20th century Western music are as important in my concept of jazz drum language as bebop and early jazz approaches…I’ve been studying Cuban Bata drumming for the last year, which keeps me humble and reminds me constantly how much percussion inspiration there is in the world!”


Canada Day
Nate Wooley, Trumpet
Matt Bauder, Tenor Saxophone
Chris Dingman, Vibraphone
Garth Stevenson, Bass
Harris Eisenstadt, Drums & Compositions

Tracklist

Please note that the below previews are loaded as 44.1 kHz / 16 bit.
1.
Slow and Steady (unmastered)
03:50
2.
Settled (unmastered)
08:23
3.
A Whole New Amount of Interactivity (unmastered)
08:25
4.
The Magician of Lublin (unmastered)
08:24
5.
Song for Sara (unmastered)
06:37
6.
Nosey Parker (unmastered)
06:58
7.
Shuttle off this Mortal Coil (unmastered)
07:34
8.
King of the Kutiriba (unmastered)
04:46

Total time: 00:54:57

Additional information

Label

SKU

SGL25962

Qualities

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Channels

Artists

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Composers

Genres

,

Audio Engineer

Sean Kelly

Mixing

Mixed by John Raham at Afterlife, Vancouver BC

Instruments

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Original Recording Format

Recording Location

Recorded at Water Music, Hoboken NJ, March 7, 2012

Release DateAugust 30, 2024

Press reviews

AllAboutJazz

Harris Eisenstadt’s Canada Day quintet is evidence that an ensemble can be both disciplined and chaotic. With Canada Day III, the drummer/composer presents eight original pieces that, but for his talented sidemen, probably could not exist elsewhere. (…)

The composed music is executed here with a non sequitur freedom that defies logic, but it continues to work just fine.

AllAboutJazz

Even with when restricted to a quintet, Eisenstadt deploys an orchestral conception. Indeed, several of the cuts include material originally intended for a through-composed orchestral work premiered at Columbia University in June 2011. An African influence can be detected in the hocketing lines which distribute the melody line rhythmically around the ensemble. Each piece has multiple sections and tempos, but they don’t manifest as a series of nervy jump cuts. Instead an inner logic and flow holds sway which makes them seem deceptively straightforward.

Modern Drummer

Not based in melody yet melodious, not based in strict forms but smartly structured, the compositions on drummer/leader Harris Eisenstadt’s Canada Day III take surprising arcs. Eisenstadt’s playing – orchestrated, colorful, airy yet propelling – flows from a composer’s mind. The richly timbred quintet Canada Day includes vibes, trumpet, tenor sax, and bass, and each instrumentalist solos judiciously, serving the ensemble momentum. Vibraphonist Chris Dingman is particularly crafty shading harmonic tension and release. An engaging left-of-center pleasure from an artist to watch.

Gapplegate Music Review

Needless to say all the artists here improvise with their own originality and feeling. Harris on drums is somebody to listen to productively just in himself. Dingman’s vibes give the ensemble its special sound quality and he can weave lines, but then Garth is strong as well. The Wooley-Bauder team is excellent of course, here as elsewhere. Composer Eisenstadt comes through with more of his sophisticated yet fired-up subtlety. Don’t miss this one! Really

Jazz Times

Far more than other instrumentalists, drummer/leaders tend to feel the need to qualify their compositional efforts as being “not a drummer’s record,” as if sitting behind the kit limits one’s imagination to explosive percussive outbursts. With two new releases for his Canada Day ensemble, one the third release by the core quintet and the other with an augmented octet, Harris Eisenstadt obviously doesn’t feel the need for such declarations. Not that either album finds Eisenstadt hogging the spotlight for extended solo turns; both, however, showcase the inventive ways in which he can translate his identity as a drummer into a striking compositional voice. That inspiration comes in part through the intricate use of rhythm. The presence of vibraphonist Chris Dingman in place of a pianist or guitarist serves to offer the possibility of a rhythmic or melodic voice, and Eisenstadt takes full advantage. Contrast the way that each of Dingman’s volleys seems to ripple through the leader’s playing on “A Whole New Amount of Interactivity” with the way that the chiming vibes combine with Garth Stevenson’s husky bass to conjure the sly melody of “The Magician of Lublin.” But it’s also expressed via the combination of textures, especially in the interaction of Nate Wooley and Matt Bauder, both of whom have expansive inside/outside approaches. So Wooley’s trumpet can sputter and squeal on the jittery “Nosey Parker” and dig into a deep muted swing on “Magician.” Bauder is tenderly lyrical on “Song for Sara” (penned for Eisenstadt’s wife, bassoonist Sara Schoenbeck), breathy and crepuscular on “King of the Kutiriba.” Even when he cedes control, the entire band understands the way in which their voices meld, as in the clutter of isolated sounds that concludes “Interactivity.” With each new release, Canada Day is developing into a more intriguing ensemble as well as an ideal, malleable outlet for Eisenstadt’s distinctive concepts.

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