{"id":167247,"date":"2026-10-26T11:12:22","date_gmt":"2026-10-26T15:12:22","guid":{"rendered":"https:\/\/panm360.com\/records\/tara-davidsons-marni-project-the-reflection-of-an-echo-jazz-toronto\/"},"modified":"2026-10-26T11:14:18","modified_gmt":"2026-10-26T15:14:18","slug":"tara-davidsons-marni-project-the-reflection-of-an-echo-jazz-toronto","status":"publish","type":"records","link":"https:\/\/panm360.com\/en\/records\/tara-davidsons-marni-project-the-reflection-of-an-echo-jazz-toronto\/","title":{"rendered":"Tara Davidson’s Marni Project – The Reflection of an Echo"},"content":{"rendered":"\n

The Toronto saxophonist Tara Davidson presents, with this most recent album titled The Reflection of an Echo<\/em>, a contemporary jazz of classic jazz lineage but anchored in multiple influences filtered through a welcoming character. It is above all a music supported by broad and seductive melodic phrases, radiant chords, and a general optimism that is refreshing, without naive candor.<\/p>\n\n\n\n

Reflection<\/em> is the artist’s 9th album as a leader, and it features an entirely new quartet named in honor of a beloved cat, Marni, who for over 17 years accompanied Davidson in her composition routine by snuggling close to her and her piano. The peculiarity of Marni (the quartet) is that an accordion occasionally weaves into the musical fabric, with a very beautiful effect.<\/p>\n\n\n\n

The first notes of the album’s opening piece, the eponymous The Reflection of an Echo<\/em>, immediately place us in a nostalgic setting, imbued with tenderness. A tribute to the saxophonist Immanuel Wilkins, says Davidson, in addition to being a nod to the novel Divisadero<\/em> by Michael Ondaatje. Nostalgia remains, but the energy of the piece gradually increases until it adopts a very pleasant groovy pace.<\/p>\n\n\n\n

17<\/em> is an explicit reference to the famous Marni, the cat who passed away in 2025 at 17 years and some. One immediately perceives what can only be the sunny and cheerful character of the feline, in music that sometimes evokes a kind of a Serge Gainsbourg java, without the Frenchman’s cynicism, of course (Marni certainly had none). The accordion skillfully handled by Florian Hoefner (who is also the pianist) has something to do with it. Marni must have been a most agreeable companion. My respects to his memory.<\/p>\n\n\n\n

Family Portrait<\/em> transports us to a very different universe from the previous piece. In a relaxed and benevolent atmosphere, Davidson evokes her own family, whether it be filial, friendly, or communal. Once again, the interplay between the accordion and the saxophone is delightful, imparting a very authentic, intimate character to the music.<\/p>\n\n\n\n

Davidson’s claimed optimism is also expressed in Lift<\/em>, in a groovy way. The underlying message of mutual help and support is conveyed by the fluttering, slightly playful, alto of the composer and performer. The piano lends a hand and showcases a Florian Hoefner who is as nimble on the black and white keys as he is with the accordion’s dactile bellows.<\/p>\n\n\n\n

It continues with Train to Tarrytown<\/em>, a memory of the years when Davidson took one (a train) from Grand Central Station (in New York) to Tarrytown to study with Dick Oatts. Happy, reflective spaces of time, as the tone suggests. There is something of the best of the smiling constructions of 60s West Coast jazz in there.<\/p>\n\n\n\n

Betty’s Dance<\/em> launches a tango closer to Paquito D’Rivera than to Piazzolla. Betty is the anxious little voice of Tara Davidson, a way for the artist to talk to her and tell her to be quiet. That said, nothing truly distressing emerges in the score. One rather gets the impression that Davidson is playing with Betty and that she is in control, rather than being her victim. All the better, and besides, it makes for a very pleasant composition.<\/p>\n\n\n\n

A Different Hour<\/em> is inspired by the poem Los Enigmas<\/em> by Pablo Neruda (an excerpt from his Canto General<\/em>). Neruda distills an admiring contemplation of the beauty of nature and the world. Optimism, once again. The poised yet lively demeanor is beautifully expressed in Hoefner’s piano interventions, and the solid support from Dan Fortin and Ethan Ardelli on bass and drums, respectively. Davidson adorns the ensemble with sinuous improvisations, where a lyrical melody gracefully undulates above the panorama.<\/p>\n\n\n\n

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