A Filipino-Canadian based in Edmonton, Joshua Banks’ hands are well trained by classical technique as well as by study encounters with Japanese jazz pianists such as Hiromi. The result is jazz with a well-developed technique and an impeccable sense of sonic beauty. Banks claims to be paying tribute to his origins on this nine-track programme, all original compositions with the exception of the standard Nature Boy. Apart from several tracks in Tagalog (the main language of the Philippines) which betray certain sources of inspiration, my very Western white ears do not perceive any particularly Filipino or even “Asian” inflections in Joshua Banks’ music. That said, they can’t deny the beautiful lyricism of the melodies on Para Sayo, which means “For you.” The arrangements range from the basic trio (piano, double bass, drums) to chamber music with string quartet, voice, double bass and percussion (as in Opo, a superb melodic flight carried by Hazel Cavida’s sunny voice). A total of 14 performers take it in turns to take part in the various pieces, varying the textures and the pleasures.
Banks constructs sonic landscapes that bear witness to modern jazz rhythms, but also to a skilful architecture drawn from the genius of classical music. The pianist’s living portraits emerge, develop and conclude with immense grace, whether in impressionist, cinematic or slightly funky moods (“Nature Boy,” in an astonishing and invigorating version!). Edmontonians are lucky. I’d love Montreal to get the chance to hear this young artist live soon. Attention programmers reading this article.
Para Sayo. For you. For us. Thank you for your kind offer, it’s much appreciated, indeed.
