Ernesto Cervini's Turboprop - A Canadian Songbook

March 14, 2024

Label: TPR Records, 2024

Personnel - Joel Frahm: tenor saxophone; Tara Davidson: alto saxophone; William Carn: trombone; Adrean Farrugia: piano; Dan Loomis: bass; Ernesto Cervini: drums.

Ernesto Cervini, a drummer/composer from Toronto and JUNO award winner, pays tribute to Canadian songs and artists with A Canadian Songbook, featuring his Turboprop sextet. This third outing comprises seven tracks, including two originals and five covers, where the adventurous ensemble shines.

The opener, James Hill’s “Skeletons” showcases the group at its bravest. It’s a structurally interesting piece underpinned by a skittering EDM-inspired rhythm intertwined with divergent rubato passages. It’s also a furious, blowing vehicle for the horn section - altoist Tara Davidson, trombonist William Carn, and tenorist Joel Frahm - whose exchanges are caught in a spiral of joyful and energetic purpose.

The following track, Barenaked Ladies’ “When I Fall” is a circular 3/4 pop/rock song comfortably harmonized by bassist Dan Loomis who, locking up with Cervini, serves Carn’s opening solo before making a statement of his own. The piece climaxes with Frahm’s tenor statement, a perfect blend of emotion and vibrancy.

Somehow recalling the music of Mulgrew Miller and Branford Marsalis, “Aureole”, penned by alto saxophonist Allison Au, expands the musical palette into a cerebral if extroverted post-bop that swings with a modern mainstream vibe. Its strong sense of texture stands out.

Cervini’s own compositions, “If, Then” and “Stuck Inside”, display contrasting postures. The former combines snare fluxes and staccato moves, first unfolding in 5/8 before shifting in tempo, while the latter sprawls with a more familiar jazz progression delivered with symmetry and balance.

While this is not Cervini’s best recording, it serves as a finely honed reflection on the Canadian music scene, showcasing the collaborative energy of his ensemble throughout.

Favorite Tracks:
01 - Skeletons ► 03 - When I Fall ► 06 - Aureole

Ernesto Cervini - Tetrahedron

March 11, 2020

Label: Anzic Records, 2020

Personnel - Luis Deniz: alto saxophone; Nir Felder: guitar; Rich Brown: electric bass; Ernesto Cervini: drums.

For his sixth Anzic outing, Canadian drummer Ernesto Cervini gathers a thrilling new quartet in which to hear his talents. Its members are alto saxophonist Luis Deniz, bassist Rich Brown, and New York-based guitarist Nir Felder. Produced by Cervini and Toronto bassist Dan Fortin, Tetrahedron embodies a stylistically diversified song lineup of both originals and covers.

And the group starts off with the right foot, delivering a loose-limbed rendition of the famous standard “Softly As In A Morning Sunrise”, here beautifully introduced by the dark/light contrasts of the electric bass, and then uplifted with a partly dub, partly free funk groove over which guitar and sax pinpoint their communicative interplay. The main statement, swaggeringly professed at the end, exhibits some rhythmic nuances.

Apart from the bandleader, who brought in four self-penned compositions, Brown was the only member of the quartet to contribute an original. His “Forward Motion”provides great moments, maturing into a hype jazz bass figure that feeds the gravity, after an inception that demonstrates Felder’s guitaristic elasticity over drums. Cervini and Brown then fixate on a straightforward swinging routine while Deniz disseminates his joie de vivre with a frantic sax romp. The drummer also stretches here and the guitar work is as efficient as on the quieter “Angelicus”, a workpiece taken from the rich repertoire of arranger/composer/conductor Vince Mendoza. This version arrives to our ears impregnated with erudite classical innuendos and folk-like melodies.

Cervini’s compositions brim with energy, and if “Boo Radley”, composed for the reclusive character of To Kill a Mockingbird, feels like a personal interpretation of Coltrane’s “Giant Steps” with a nod to jazz fusion, then “Stro”, a minor blues dedicated to the former Toronto Blue Jays pitcher Marcus Stroman, straddles the musical worlds of The Lounge Lizards and Steve Coleman, sources of an artsy punk-ish jazz and M-base movements, respectively. Also, the closer “The Sneaky Two”, another groove-oriented procedure, soars high with outgoing statements from guitar, sax, and bass.

To further enrich the stylistic diversity, Bunky Green’s “Summit Song” evokes a bunch of jazz giants with its strong hard-bop flavors.

Cervini has a fearless attitude toward sound, and even with strong inspirations stemming from the past, he is not afraid to plunge into new ideas. This group proves to be a splendid match and the music selection fits their purpose.

Favorite Tracks:
01 - Softly As In a Morning Sunrise ► 02 - Forward Motion ► 08 - The Sneaky Two

Ernesto Cervini's Turboprop - Rev

November 22, 2017

Label/Year: Anzic Records, 2017

Lineup – Joel Frahm: tenor saxophone; Tara Davidson: alto and soprano saxophone; William Carn: trombone; Adrean Farrugia: piano; Dan Loomis: bass, Ernesto Cervini: drums.

Born and based in Toronto, Ernesto Cervini is a fluid drummer who deserves a space on the new scene. He is involved in several interesting projects that include Myriad3 and MEM3, both contemporary piano jazz trios; his own quartet - with Joel Frahm on tenor, Adrean Farrugia on piano, and Dan Loomis on bass; and Turboprop, a sextet he leads, displaying a forceful three-horn frontline.

In truth, the latter project, whose debut occurred in 2015, is an expansion of his original quartet, featuring Tara Davidson on alto/soprano saxophones and William Carn on trombone. This configuration leaves him plenty of wiggle room to arrange originals, covers, and even standards with a personal touch while squeezing the best musical qualities out of his peers.

Making use of a killer-instinct jazz as a point of departure, Rev comprises eight diversified pieces that are blistering and inspiring in its melodic/harmonic demeanors, as well as profoundly rhythmic in its instinctive drive.

With epic contortions, “The Libertine” couldn't have been a more delightful opener, comprehending varied time signatures in its multiple passages flooded with insurgent textures. Working dexterously with both hands, Farrugia, who penned the tune, combines clear melodies and sweeping gestures on the upper registers, while accompanying on the lower with dressy syncopated voicings. The following soloist, Frahm, strikes with a highly developed post-bop vocabulary over a brisk, rock-inflected groove, before flowing in parallel with Davidson for the theme’s reinstatement.

A jubilant merry-go-round of pronounced Spanish accents and Eastern folk dialects seems a good way to describe Cervini’s “Granada Bus”. Grooving in 5 and then waltzing lustfully in the B section, it feels simultaneously forward-moving and yearning. It also features a soulful solo by Davidson.

The bandleader brings another tune, precisely the one that gave the album its title. “Rev” is a blues, in the same line of Oliver Nelson’s “Cascades”, and was inspired by the sounds of traffic. It also serves as a showcase for the drummer’s energetic charges, as well as for a bass-less collective improv.

The other originals, “Ranthem” and “Arc of Instability”, were written by Loomis and Carn, respectively. The former piece stands out as a mutant folk dance, while the latter boasts an elegant sophistication and nice line conception.

The external songs, inevitably chosen from the pop/rock universe, include Blind Melon’s electro-acoustic hit “No Rain”, here transformed into a modern jazz hymn, and Radiohead’s B-side “The Daily Mail”, whose original characteristics were left recognizable, regardless the simultaneous horn-driven improvisations suffused with bluesy lines.

By rendering the beautiful standard “Pennies From Heaven”, the group honors tradition with passion, sagacity, and a genuine swinging feel, which gives the tune as much grit as glow. Dedicated to Cervini’s 1-year-old daughter, this striking arrangement by the proud dad, features Frahm in another majestic solo, this time further rooted in the bop compendium. The improvisational section is closed after Carn and Loomis made their voices heard.

Turboprop displays an enormous musical quality and the rapport between its members is unquestionable. Rev confirms Cervini as a drummer of witty accomplishment.

Favorite Tracks:
01 - The Libertine ► 04 - Rev ► 06 - Pennies From Heaven