The Jim Brenan 11: 50/50
Death Defying Records

Born from Jim Brenan's desire to combine two elements, 50/50 underpins the resplendence of a large acoustic band with the punch of a hard-grooving rhythm section. The Edmonton-raised and now Calgary-based saxophonist has recruited an exceptional cast of Alberta-based jazz musicians for his eleven-piece unit. Given the large instrumental resources, it's natural that the group would present the persona of a big band, but The Jim Brenan 11 also sometimes plays like a tight jazz-funk ensemble. Don't be surprised if you find yourself thinking of Herbie's Headhunters during 50/50's funkiest and hardest-grooving moments. At such times, the music veritably intoxicates.

As composer, arranger, and bandleader, Brenan deserves much of the credit for this terrific album, but a great deal of its impact is attributable to the musicians; certainly the fervour with which they dig into the material makes for exciting listening. The band features eight horn and woodwind players—trumpeters Jim Murray and Sergio Rodriguez, trombonists Craig Brenan and Carsten Rubeling, saxophonists Sarah Matheson-Nadeau (baritone, flute), Sean Craig (alto), Mike Gardner (alto), and of course the leader (tenor and soprano, clarinets)—accompanied by Chris Andrew (Rhodes, clavinet), Rubim De Toledo (bass), Jamie Cooper (drums), and Raul Tabera (percussion). All concerned infuse Brenan's material with soul and energy.

Andrew gets special mention on the album cover, and it's easy to see why when his playing contributes so much to the band's fresh sound. When his Rhodes surfaces, it gives the material a delicious ‘70s vibe that might remind listeners of a certain age of CTI Records as well as artists like Deodato and the aforesaid Headhunters. Cooper also deserves mention for the propulsion he brings to the performances, not to mention the bright, high-pitched pop of his snare. His inventive, tight grooves do much to lift 50/50 high.

Interestingly, “Tiger's Milk” opens the album by emphasizing the horns-and-woodwinds side of the equation before bringing others into the fold, with Andrew's Rhodes, Tabera's congas, and De Toledo's electric bass fleshing out the presentation. Though the polyphony of the writing impresses, with horns, saxes, and flute generating a field of luscious colour, the performance achieves liftoff when Cooper enters three minutes in, the drummer unleashing a formidable attack and inspiring the others to do likewise. A remarkable exercise in multi-part writing and long-form performance, the aptly named “Colossal Suite” navigates an oft-thunderous route for eleven gripping minutes. The lyrical rumination “Hiding Place,” by contrast, brings the more delicate and soulful sides of the group to the fore. As appealingly full-bodied as the band's sound is, it's as attractive when reduced to a sub-unit, as happens, for example, during “Eleven Eleven” when Andrew, De Toledo, and Cooper take brief trio turns.

February 2019