Neon is an appropriate title for Canadian pianist Andrew Boudreau’s latest recording. The album is all about atmosphere, and Boudreau and his quartet evoke a variety of moods by way of careful programming, evocative interplay and overriding intelligence. Geography is among the collection’s themes, with assorted tracks inspired by locations important to Boudreau. But details
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Take “Ghost Stories,” which was influenced by Boudreau’s visits to a New Hampshire summer camp as a child. The number begins with drummer Eviatar Slivnik’s skittering rhythm, which Boudreau probes with an eccentric note pattern prior to the entry of tenor saxophonist Neta Raanan, whose tone is reminiscent of staggered breaths, and bassist Simón Willson, who unleashes plenty of limber lines. A tumbling Boudreau solo ratchets the tension ever higher, as does an extended showcase for Raanan that becomes increasingly feverish. But rather than rushing to the conclusion, the players synch up to create a communal sound that neatly avoids even a whiff of spook-show stereotypes.
Other highlights include “Mile Ex,” the tender, deliberate opener; “Maud Lewis,” a tribute to the Canadian folk artist of the same name, the arrangement of which takes a painterly approach; “The Water’s Cold,” a gorgeous exploration in which Boudreau’s playing absolutely sparkles; and “Hopscotch,” a contrapuntal wonder that moves with a sophistication far beyond the average playground champ.
At first blush, “Welcome Oak,” which closes the album, is less a song than a fragment — it lasts under a minute. Somehow, though, even this coda stands tall, and that’s a tribute to Boudreau’s craft. In short, Neon glows. — Michael Roberts
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