Ernesto Cervini's Turboprop: A Canadian Songbook
TPR Records

The chemistry between Turboprop's six members has developed over the course of three earlier albums and reaches its fullest culmination to date on its just-released fourth. Led by drummer Ernesto Cervini, the sextet, together since 2013, boasts a terrific front-line in alto saxophonist Tara Davidson, tenor man Joel Frahm, and trombonist William Carn and an equally solid rhythm section in pianist Adrean Farrugia, bassist Dan Loomis, and, of course, Cervini. Connections run deep between them: he and Davidson first played together in 1994 when they were members of the same youth jazz band, for example, and the alto saxophonist and trombonist front their own outfit Carn Davidson 9 when not appearing on others' projects.

Turboprop's latest, A Canadian Songbook, is, among other things, Cervini's love letter to the musical culture of his home country and appreciation of the talent it's produced. Having grown up listening to quintessential homegrown bands like The Barenaked Ladies and Our Lady Peace, it's only natural the drummer would add them to the album's playlist, and joining them are tunes by Canadian pianist James Hill and celebrated alto saxophonist Allison Au as well as one by Carn and two by the drummer himself. Cervini's Canadian to the core: Toronto born and raised, he attended the Royal Conservatory of Music and the University of Toronto; he now teaches at the university and also privately, plays in a number of bands, and as the founding director of Orange Grove Publicity has had a hand in appearing on and promoting a number of releases by Turboprop members and many others.

Hill's “Skeletons” initiates the album on a high with furious playing and a structural design that bolsters the song's robust drive. Following a jittery drum intro and piano thematic statement, the group lunges into the material, the horns blazing and the rhythm section muscular. Repeated stop-starts add to the track's riveting effect, but it's the wail of the horns and the torrential attack of the others that argues most vehemently on behalf of the performance. The blistering solos the horn players trade off is a thing of beauty, as is the thrust of Cervini's drumming. As the tune enters its final third with the soloists collectively roaring, “Skeletons” reaches an even more stunning level. Delivered at a sleepy, downtempo pace, The Barenaked Ladies' “When I Fall” makes for an endearing comedown after the fury of the opening, especially when Carn, Loomis, and Frahm distinguish it with impassioned solo statements and the music blossoms into a bluesy, nostalgic reverie. The band digs into Our Lady Peace's “Clumsy” with aplomb, the musicians clearly enjoying giving anthemic voice to the song's melodies and transmuting it into a legitimate jazz piece.

The first of Cervini's tunes, “If, Then” riffs on tricky 5/4 and 5/8 time signatures but is no less impactful for doing so. The rhythm section's smooth breeze propels the performance, abetted significantly by freewheeling turns from Farrugia and Frahm and an explosive solo contribution by the drummer. More memorable compositionally is his “Stuck Inside,” a bluesy, romantic charmer that channels the warmth of a ‘50s big band and is distinguished by gorgeous horn playing. Speaking of which, Cervini discovered Au's “Aureole” when he was spreading the word about her Juno-award winning album Forest Grove and smartly decided to work it into Turboprop's repertoire. The tune's swinging, bop-inflected drive's tailor-made for the drummer's group and calls forth some of the set's most exuberant playing; hearing the six tear through its changes at light speed and with high-wire intensity makes for terrific listening. At album's end, Carn's expansive “The Inertia of Complacency” takes the set out on a Jazz Messengers-like wave of good feeling.

A striking thing about this formidable outfit is its ability to suggest a unit larger than six pieces. There are moments on A Canadian Songbook where the group roars with such power, one could mistake it for a big band, not a sextet. Another distinctive element is the synergy demonstrated by the horn players, who excel whether they're singing in unison or engaging in dynamic round-robin soloing. Witnessing the three in top flight is undeniably one of the album's primary rewards. One of the best things about A Canadian Songbook is that it's likely the first of two parts as four to five songs were recorded at the sessions that aren't on the release and will likely appear on the next volume. Definitely something to look forward to.

March 2024