Pandemic can be the mother of invention—at least, that’s what Hamilton-based double bassist Dan Fortin found when he was isolated in Calgary with his electric bass. Turning obstacle into opportunity, he recast his solo compositions for the electric model. Later, he decided that the tunes would sound better in partnership, which is why Cannon features ten other musicians.
Fortin’s ability to mate bass pulses and synthesizer sweeps with acoustic or electric instruments is the key. Alto saxophonist Karen Ng blends flattement and breaths with methodical string patterns on “Minty.” Trumpeter Madeleine Ertel’s repeated portamento flutters are instances of acoustic wizardry, as they evolve in tandem with string strums and reflective synth continuum. Distinctive instances of electric interaction enliven “Allium Tower,” as Fortin’s string frails project a lyrical melody on top. Synth programs created by Fortin and Michael Davidson resonate with metallic stops, canine-like yelps, and squeaks. On “Act II,” Fortin’s canny mixture of field recordings, voltage drones, and a durable bass thump make a perfect setting for Phil Melanson to emphasize crackles from his electric drums.
Fortin also creates a solid solo structure, as demonstrated on “Cuesta.” Playing both baritone guitar and electric bass, he encompasses spatial vibrations created by string shakes as he moves up the scale while forging a grounded percussive beat from the lower-pitched strings. Most of the tracks on Cannon are brief, and expanded playing time would have made the musical ammunition even more potent.
Ken Waxman is a Toronto-based journalist who has written about improvised and other musics for many years. Many of his articles on music can be accessed at <www.jazzword.com>.