Ernesto Cervini: “Joy” (2022) CD Review

The first thing that drew me to the new album from drummer and composer Ernesto Cervini was its title, Joy. It is something most people I know are seeking these days, and taking wherever they can find it. It seems to be lacking in a lot of areas. In politics, certainly, but also in online social arenas, on the road (I used to find great joy in just driving), and even in social contexts (due, in some part, to the pandemic). Where I most often find it is in music. The tracks on this album were inspired by a series of detective novels by Louise Penny, set in the fictional town of Three Pines. Having not read those books, I find the music creates its own worlds and characters for me, clear and vibrant, and invites me to take part. Of course, having now heard this music, I am curious about the writer’s work that inspired it. On her website, Louise Penny says the themes of her work were inspired by lines from W. H. Auden’s 1933 poem “Herman Melville”: “Goodness existed: that was the new knowledge/His terror had to blow itself quite out/To let him see it.” She also indicates that her books are about terror and goodness. The music on this album seems to be inspired by the latter. Joining Ernesto Cervini on most of this album’s tracks are Tara Davidson on alto saxophone, Kelly Jefferson on tenor saxophone and soprano saxophone, William Carn on trombone, Adrean Farrugia on piano, and Dan Fortin on acoustic bass. Several other musicians join him on various tracks.

The album opens with a track titled “Three Pines,” easing in with gentle voices, like angels welcoming us to an oasis. And once we are there, we are able to join in the dance, in the celebration, in the joy. The place this music creates for me is one where there are no harsh judgments, no anger. Only joy and contentment. At a certain point, the angelic voices give way to the guitar, that instrument seeming to give more information about this wondrous place we’ve been led to, and more encouragement. That’s Don Scott on guitar. I also really love the way the percussion builds beneath that guitar lead, until the voices once again join that rhythm and the guitar. Felicity Williams, Emilie-Claire Barlow and Amy Cervini provide those gorgeous vocals. What a beautiful opening track, helping calm us and encouraging what’s best inside us to rise to the surface. Then “Surprised By Joy” begins with some exciting work on drums. There is an intensity to those opening moments, particularly on piano, broken by the interjections from the horns. After a minute or so, things get moving, pulsing, breathing. No more hesitation; now it is exhilaration in the playing, something approaching ecstasy here, all of the musicians feeling it, grooving with it, moving within it, and pushing further forward, eager, as from an incredible thirst that is now being quenched over and over. Fantastic.

“Myrna” comes sliding in, slinking in, all cool and confident and knowing. A spell is cast by that rhythm, and by that saxophone, gentle fingers spreading out with every note, wrapping around us, pulling us near. Artie Roth delivers some wonderful work on acoustic bass on this track. That’s followed by “Sandalwood And Rosewater,” which begins softly, gently, and then begins to grow, its warm tones soothing us. It takes a delightful turn toward the end, led by Adrean Farrugia’s work on piano, and builds from there. It then suddenly begins to fade out, too soon, it seems to me. Then “Clara” is a saxophone solo, performed by Tara Davidson. It begins softly, with an air of curiosity, then becomes rather playful partway through.

“Roar And Havoc” has a more intense vibe from the start, in part because of that work by Rich Brown on electric bass. The saxophone dances above that bass line, at first in some contrast to that, but then more and more in conjunction with it. That’s Luis Deniz on alto saxophone. Meanwhile, the drums have a fluid feel, rolling with a natural excitement. Toward the end, the saxophone drops out for a time, and there is an intriguing section of bass and drums. That’s followed by “Ruth’s Rosa,” a tune that very quickly becomes delightful, the clarinet and trumpet engaged in an odd dance, like two old friends whose steps are in time as they stroll about the city. Virginia MacDonald plays clarinet, and Jim Lewis is on trumpet. And then nearly halfway through, they begin to engage in conversation, each taking his turn, and sometimes the one speaking over the other. The drums and bass seem used to this from those two, and move along as they are inclined to, but at a certain point, the drums have their say.

Alex Samaras provides the vocals for “The Moth,” and this time there are lyrics. This is the only track to feature lyrics, and they come as a surprise. The lyrics are a poem written by Marylyn Plessner, but in the world of Three Pines delivered by the character Ruth Zardo. It’s an odd and short track about accidentally killing a moth, featuring some wild work on drums. I love the way Alex Samaras draws out the final word, “sting” in the lines “Not knowing you were only a moth/With no sting.”  It’s followed by an even shorter track, “Olivier & Gabri,” which is another conversation, this time between saxophone and trombone. A brief, friendly, loving conversation.

“Bella Bella” begins calmly, then quickly starts to build. Various voices take on more energy, more zeal. But of course we need breaks from that, to turn more to romantic notions, from passing thoughts to pledges of great desire. There is a tremendous excitement to this piece. That’s followed by “Peter Morrow,” which has a more somber beginning. Is it a darkness within, or without? I get the image of a series of doors being opened, and long hallways. And whatever it is that is sought remains hidden, or perhaps it is discovered, but then left where it is. This track is a piano solo. Then “The Beautiful Mystery” begins with bass. Soon a voice joins, as if in solemn and solitary prayer. That is Alex Samaras again on vocals. The horns then take over.

“Lacoste” has a hesitant beginning, like steps into a darkened room, where perhaps someone else might be present. It soon becomes a lighter piece, the saxophone sharing observations it has made, and feeling a certain freedom. There is a freedom in the work on drums as well. Artie Roth plays acoustic bass on this track. That’s followed by “Beauvoir,” which has an odd beginning delivered by Rich Brown on electric bass. What creature is this that has entered this place? And what does it want? This is an interesting track, featuring drums and bass. The album then wraps up with “I’m FINE.” An album titled Joy concluding with a track titled “I’m FINE” makes sense, though the capitalization of the word “FINE” makes me wonder, who is it trying to convince? Well, as this piece begins, it does seem that everything is fine. There is a relaxed, late-night feel to the piece, like the band is playing to a few remaining dancers who are doing little more than hugging at this point, and a couple of folks at the bar who have no desire to leave. Are they fine? Maybe. As it turns out, the word “FINE” in this case is an acronym in one of the books, one of the characters explaining, “FINE stands for Fucked up, Insecure, Neurotic and Egotistical.” A couple of minutes into the track, there is a stronger, more dominant voice, or sense, perhaps one last burst of energy, one last bit of joy that is to be shared with those who remain. This track also features a nice lead on bass.

CD Track List

1. Three Pines
2. Surprised By Joy
3. Myrna
4. Sandalwood And Rosewater
5. Clara
6. Roar And Havoc
7. Ruth’s Rosa
8. The Moth
9. Olivier & Gabri
10. Bella Bella
11. Peter Morrow
12. The Beautiful Mystery
13. Lacoste
14. Beauvoir
15. I’m FINE

Joy was released on October 7, 2022 on Three Pine Records.