Ernesto Cervini's Turboprop: Abundance
Anzic Records

In terms of material and performance, Abundance is on par with last year's excellent Turboprop release Rev, which garnered justifiable praise from DownBeat and received a 2018 JUNO nomination for 'Jazz Album of the Year (Group)'; in fact, it might even be a little bit better. Led by Toronto-born drummer Ernesto Cervini, the all-acoustic Turboprop replicates Rev's template in mixing standards and originals, on the new outing two by the leader and one each from Tara Davidson (alto and soprano saxophones, flute), Dan Loomis (bass), and Adrean Farrugia (piano). Throughout the eight-track set, the band, which also includes tenor saxist Joel Frahm and trombonist William Carn, invests its performances with infectious, high-energy enthusiasm, the results bolstered by the concision with which the pieces are delivered.

Cervini sets the tone with an ever-inventive attack that inspires his partners to perform at similarly high levels of passion and conviction. It's the playing by this particular gathering of personalities that, compositions and arrangements aside, most recommends the release. On the inner sleeve, the drummer, a graduate of the University of Toronto and Manhattan School of Music, expresses appreciation for many things, teachers, friends, family, homeland, and otherwise, but, as far as the recording itself is concerned, it's his bandmates who are most deserving of gratitude. Abundance clearly wouldn't be what it is without the contributions of all six members.

Davidson's “The Queen” bolts from the gate with Cervini and Loomis propelling the action aggressively and the others following suit. Delivered with dispatch, solo spots are assertively executed by Farrugia and Davidson, both gliding gracefully over a relentless, churning broil until the leader steps forth with punctuations of his own before bringing the band back to a concluding thematic statement—all of it delivered in a crisp, five-minute package. Even shorter is the treatment of “My Shining Hour,” in which Turboprop uses Geoff Keezer's solo piano version from his 1998 Turn Up The Quiet release as a springboard. After an imaginative intro that sees the players collectively voicing ascending patterns, the tune proper begins with luscious horn and woodwind textures before segueing into short solo statements and Latin-inflected rhythms. So much happens in three minutes, one's left breathless, struggling to keep pace with the changes as they arise. Only once does a track stretch out, with the eight-minute, horns-powered “The Ten Thousand Things” ultimately as action-packed as everything else on the album.

Cervini deploys brushes for a smooth, bop-inflected reading of Tadd Dameron's “Tadd's Delight,” with all concerned digging into the tune's form-fitting changes and familiar melodic material. Though many a listener will know Miles' version from 1957's ‘Round About Midnight, Turboprop's doesn't suffer by comparison when it's delivered with such gusto and spirit. There's perhaps no greater chestnut than Charlie Chaplin's “Smile,” but the group nonetheless invigorates the tune with an affectionate performance, Carn leading the way with a warm lead solo.

In his “Abundance Overture,” Loomis channels the joy expressed by Cervini in his liner notes for a jubilant rouser whose uplifting melody is delivered by Davidson on flute. The two Cervino-authored cuts come last, “Gramps,” a suitably heartfelt ballad dedicated to the memory of his late grandfather and graced by a stirring alto turn, and the second, “Song for Cito,” a luscious, horns-enriched tribute to Toronto Blue Jays manager Cito Gaston. As should be obvious, Abundance fits snugly into the acoustic jazz tradition, yet it doesn't feel stale or retrograde; instead, the energy the musicians bring to the performances makes the album feel fresh and exciting, and it feels especially strong when they're delivered in such an unfussy, blink-or-you'll-miss-it manner.

November 2018