Listening suggestions...

One of the few bands capable of making Sabbath, Pantera, and Slayer (bless them all...) sound like toddlers fighting over lollipops in the school yard... I'm a big Meshuggah fan, but I have to admit it took me a while to fully appreciate their singular approach to metal. I was first introduced to them by my friend Francis Fillion (who also deserves credit for my appreciation of Björk) back when we were both playing in various rock cover bands (that's around 1997). We often dr

This listening suggestion is not a complete album, but rather a single work by the famous French composer Olivier Messiaen. I still remember the first time I encountered his music, the piece was Turangalîla-Symphonie. It was during my composition studies at Concordia University, and we had a weekly assignment: listen to a piece we had never heard before and then discuss our impressions in class. When it was my turn to speak about Turangalîla, I bluntly declared, “I just hated

I was first introduced to the music of David Grisman when I was just beginning to play jazz. Around that time, I was invited (by the late Denis Fréchette) to sit in on a few jams with the then little-known group La Bottine Souriante. The idea was that I would play jazz chords and licks over traditional Québec folk tunes, as they were interested in exploring the kind of fusion Grisman was creating. Ultimately, the project didn't go very far, as they later opted for a brass sec

Bill Bruford is most often associated with progressive rock and electric fusion, which is what initially drew me to this album. However, this recording leans more toward the acoustic side of jazz fusion, and the result is both surprising and refreshing. The album blends influences ranging from contemporary and free jazz to more worldly sounds (for lack of a better word), reminiscent of European and African folk traditions. At times, certain passages evoke Charlie Haden’s Libe

This isn’t a recording, but a book—a short engaging and thoughtful read that explores questions about the meaning and purpose of art. At first, it may come across as somewhat naïve, but that simplicity is part of its charm and depth. I believe everyone should read this small book (artist or not) and especially those in tech who are developing AI tools that risk distancing people from the creative process—whether in music, drawing, writing, or other forms of artistic expressio

I vividly remember the first time I heard Rush—it was one of those moments that completely changes you. I can still picture where I was and when it happened. The song was “The Trees,” from Hemispheres, playing on the radio, and it absolutely blew me away. It was both intricate and powerful at the same time—complex without losing its weight—and the band’s sound was unlike anything I had ever encountered. From the delicate classical guitar opening to Geddy Lee’s instantly recog

This is Sheila Jordan’s debut album—a remarkable artist who continued to sing well into her 90s, before passing away last year at the venerable age of 96. Charlie Parker once praised her “million-dollar ears,” and she was admired by many other jazz greats. Her voice is truly unique—at once intimate and captivating. The album is also notable for its exceptional accompaniment: Denzil Best on drums, Steve Swallow on double bass (yes, double bass), and Barry Galbraith—the renowne

Great album. I remember the first time I heard it thinking : “There’s something familiar here—a certain twist in the writing and the melodies.” I was pleasantly surprised to later learn that two of Madison’s influences are Joni Mitchell and Rufus Wainwright—pretty heavyweight inspirations. The songs are beautifully crafted, with strong melodic hooks, inventive guitar work, and rich, textured sounds. It’s also worth noting the presence of one of my favorite drummers, Matt Cham

This is my favorite album by Nazareth. I’ve always loved the band, but I often felt that most of their albums sounded a bit below average. This one, however, sounds exceptional from start to finish. Recorded and mixed at Le Studio in Morin Heights, Québec, and produced by guitarist Manny Charlton, it really stands apart from the rest of their discography—and it’s absolutely worth tracking down. Manny’s guitar work is outstanding throughout, and the arrangements are remarkably

Much heavier than its predecessors, this album stands as a proto–metal-prog gem. The opening track, “Red,” is especially remarkable: Fripp uses the octatonic scale for the intro, then builds the main theme around distorted major thirds (fans of this approach should also check out “Breathless” from his 1979 album Exposure), while the mellotron in the middle section adds a really dark, dramatic atmosphere. “Bartók meets Hendrix” would be an apt way to decribe the sound of this

A great album dedicated to the memory of Bill Evans, who passed away in 1980. Richie Beirach delivers a heartfelt performance, supported by two outstanding musicians: George Mraz on double bass and Al Foster on drums. The interaction and improvisation are just remarkable, marked by sensitivity, great swing, and strong musical intuition. The opening track, “In Your Own Sweet Way”, is a master class in how to swing and build up a jazz solo, and the introduction to “Spring Is He

Not Bowie's most known album, but a very interesting one. Typical Bowie writing, but with a 90's electro touch. Think D&B, Big Beat, Techno pop... Dense arrangements, and nice surprises (listen to the last 60 seconds of Dead Man Walking). The album features the deft playing of guitarist Reeves Gabrels and bassist Gail Ann Dorsey, and clearly illustrates Bowie’s ability—over the course of a career spanning nearly fifty years—to create music that resonated with its time. My fav

I bought this recording when I was about 17, and this music still overwhelms me every time I listen to it. It is Ravel’s sumptuous orchestral arrangement of Mussorgsky’s famous piano work, made up of ten pieces linked by interludes—the “Promenades.” The piano version is, of course, stunning and well worth hearing, but it seems to me that Ravel’s orchestration does even greater justice to the concept and to all the subtlety of the work. Catacombae is absolutely remarkable, and

The great Keith Jarrett once said : 'Music is not something you can describe with words...' You have to listen to this one to understand... Beautiful music. (forget about what Pierre Boulez may have said...) This score was composed in 1976, and was first performed in 1977. The first mouvement, a diatonic canon that slowly builds up in intensity, is a really stunning composition. The music speaks for itself, but if you dig a little deeper and understand the composer’s inte

In the musical stylistic class that I teach, students are, at one point, required to give an oral presentation on a topic of their choice. It was through one of these presentations that I discovered this beautiful album of original compositions by the great alto saxophonist David Binney. He is surrounded here by incredible musicians: Chris Potter, Scott Coley, Brian Blade, Adam Rogers and Craig Taborn. The writing and playing is high level and fresh. Modern jazz with touches

The last album from The Man in Black, and a must IMO... A dark album, with songs about death and suffering, with heart wrenching singing that just cuts through you. I remember seeing the video from Hurt when it came out and being mesmerized. A repertoire of country classics and of more recent 'pop' tunes. The album is produced by Rick Rubin, who did a wonderful job. I use Give My Love to Rose as an example when teaching my students about the roots and authenticity of country

This is a truly special album, featuring flamenco compositions brilliantly arranged for a jazz big band. It's an unexpected combination, but one that works remarkably well. Vince Mendoza's arrangements are simply sublime. I've long admired Mendoza's work, from his collaborations with Joni Mitchell, Björk, and John Scofield, among many others. The roster of musicians is equally impressive, including Michael Brecker, Peter Erskine, and Al Di Meola, to name just a few. Add to th

A great mix of Rock, R&B/Soul, Blues, Country and even Prog, played by a great band. I remember hearing Frankenstein for the first time when I was about 12, it just blew me away. I always tell my students, when I play them Free Ride: 'If you don't like that one, you must be dead inside...'. I remember hearing drummer Chuck Ruff explain how Frankenstein got its title: “We played the track over and over again, making countless tape edits. Pieces of tape were hanging everywhere

This is my favorite Jim Hall album. My university guitar teacher—and friend—Gary Schwartz introduced me to it. On this recording, you can hear Jim in a variety of settings, alongside musicians such as Tommy Flanagan, Art Farmer, Ron Carter, Don Thompson, and Terry Clarke. There’s even a beautiful duo with his wife, Jane, as well as a great overdubbed duet where Jim plays with himself (Down the Line). I learned a tremendous amount from this album. Jim’s playing is melodic and

I first encountered this album in a jazz arranging class at Concordia University taught by Joe Sullivan, with whom I also studied jazz improvisation. After that I remember transcribing almost every solo from Larry Schneider and Tom Harrell on the album. Lovely tunes, with great solos all over. Some of these solos should be placed in a time capsule! Bill plays both acoustic and electric piano, backed by a superb rhythm section featuring Marc Johnson on double bass and Joe LaBa