{"id":10864,"date":"2019-01-12T22:16:54","date_gmt":"2019-01-13T06:16:54","guid":{"rendered":"https:\/\/www.artsjournal.com\/rifftides\/?p=10864"},"modified":"2019-01-12T22:23:19","modified_gmt":"2019-01-13T06:23:19","slug":"recent-listening-way-north","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/rifftides\/2019\/01\/recent-listening-way-north\/","title":{"rendered":"Recent Listening: Way North"},"content":{"rendered":"<p>Way North: <em><a href=\"https:\/\/amzn.to\/2SQ9q1p\" target=\"_blank\" rel=\"noopener\">Fearless And Kind <\/a>(M A P L)<\/em><\/p>\n<p><a href=\"https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2019\/01\/51qmBGeJkDL._SS500_-e1547359115576.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"alignleft wp-image-10865\" src=\"https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2019\/01\/51qmBGeJkDL._SS500_-e1547359115576.jpg\" alt=\"\" width=\"367\" height=\"367\" \/><\/a>Way North\u00e2\u20ac\u2122s three Canadians and a New Yorker are reminiscent of the kind of ensemble you might find playing on a corner in the French Quarter of New Orleans. For all of their sophisticated musicianship, that\u00e2\u20ac\u2122s the kind of jovial feeling the quartet summons in tenor saxophonist Petr Cancura\u00e2\u20ac\u2122s \u00e2\u20ac\u0153Boll Weevil,\u00e2\u20ac\u009d trumpeter Rebecca Hennessy\u00e2\u20ac\u2122s \u00e2\u20ac\u0153Fearless And Kind\u00e2\u20ac\u009d and several other rollicking pieces in this carefree collection. The title track maintains the feel-good atmosphere while at the same time giving the proceeding an almost (but not quite) somber cast. That is also true of Way North\u00e2\u20ac\u2122s approach to a brief exposition of Jelly Roll Morton\u00e2\u20ac\u2122s \u00e2\u20ac\u0153Buddy Bolden\u00e2\u20ac\u2122s Blues,\u00e2\u20ac\u009d which includes growls by Hennessy that seem to be inherited more or less directly from Bolden\u00e2\u20ac\u2122s trumpet successor King Oliver. Solemnity dissolves when they move into their second Morton tune, \u00e2\u20ac\u0153King Porter Stomp.\u00e2\u20ac\u009d Bassist Michael Herring and drummer Richie Barshay\u00e2\u20ac\u201dthe American member\u00e2\u20ac\u201dgenerate enthusiastic swing as they collaborate behind Cancura\u00e2\u20ac\u2122s and Hennessy\u00e2\u20ac\u2122s solos on \u00e2\u20ac\u0153Porter.\u00e2\u20ac\u009d Herring\u00e2\u20ac\u2122s solos on that piece and on Hennessy\u00e2\u20ac\u2122s \u00e2\u20ac\u0153Inchworm\u00e2\u20ac\u009d are highlights of those tracks. Hennessy\u00e2\u20ac\u2122s trumpet work throughout further illuminates why she is enjoying growing regard in Canadian jazz circles. She is one to keep an ear on.<\/p>\n<p>For <em>Rifftides<\/em> reviews of other recent recordings from Canada, <a href=\"https:\/\/www.artsjournal.com\/rifftides\/2019\/01\/recent-listening-o-canada.html\">go here<\/a>.<\/p>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Way North: Fearless And Kind (M A P L) Way North\u00e2\u20ac\u2122s three Canadians and a New Yorker are reminiscent of the kind of ensemble you might find playing on a corner in the French Quarter of New Orleans. For all of their sophisticated musicianship, that\u00e2\u20ac\u2122s the kind of jovial feeling the quartet summons in tenor [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","footnotes":""},"categories":[4],"tags":[],"class_list":{"0":"post-10864","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-main","7":"entry","8":"has-post-thumbnail"},"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/10864","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/comments?post=10864"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/10864\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/media?parent=10864"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/categories?post=10864"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/tags?post=10864"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}