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JAZZ SINGER-SONGWRITER ORI DAGAN TAKES ON THE DIGITAL ZEITGEIST ON HIS FOURTH STUDIO ALBUM CLICK RIGHT HERE
Is life online in the 21st century a blessing or a curse? One could make a case either way, but if you’re Toronto-based vocalist and songwriter Ori Dagan (@oridaganjazz), one thing is certain: there’s a great material to be mined for a lyric, something Dagan always delivers with a wry and agile sense of swing. Click Right Here, praised by John Devenish of JAZZ.FM91 as “fun, provocative, fancy-free and spirited,” and by journalist and author Jeanne Beker as “the perfect balance between modernity and nostalgia,” is Dagan’s first album of original material. It offers a joyful escape from, and timely reflection upon, a world spinning out of control. Themes include online dating, social media, technological troubles, and the quest for freedom and equality in a divided world.
Dagan’s right-hand man on Click Right Here, his fourth studio effort, is a guitarist and musical director Nathan Hiltz, whose crackling arrangements and brilliant solos bring the songs to life. Hiltz fronts a versatile eight-piece band comprised of some of Canada’s finest: pianist Attila Fias, bassist Alex Bellegarde, drummer Ben Wittman, tenor saxophonist Colleen Allen, alto saxophonist Alison Young, trombonist William Carn, and trumpeter Andrew McAnsh. They are featured to brilliant effect on the potent band vehicle “21st-Century Blues.” In addition to being Dagan’s first recording with horns, Click Right Here also includes his first male duet, a romp of a minor-key tune called “Going That Counts,” featuring Toronto rising-star vocalist Donovan Locke. Rapper Erik Flow cowrote the blistering opener “Viruses,” built around a prominent omitted expletive that lends the song a distinct rhythmic hiccup.
Five-time JUNO Award winner and three-time GRAMMY nominee Jane Bunnett, of Spirits of Havana fame, contributes scintillating flute on “Hashtag World” and soprano sax on “Viruses.” Four-time JUNO winner Simone Denny (Love Inc.) appears on a bonus cover: a relaxed and incisive interpretation of The Buggles’ 1979 smash hit “Video Killed the Radio Star,” the definitive earworm of earliest MTV. Rebecca Hennessy serves as guest arranger on the Buggles cover as well as an updated take on Dagan’s 2012 single “Googleable,” replete with virtuosic scat breaks and arch references (“Google Apps are the best, skeptics eventually clue in / who might have guessed, other than Marshall McLuhan”). The album was recorded by GRAMMY-nominated engineer Jeremy Darby at Canterbury Music Company and co-produced by Macedonian multi-instrumentalist, composer, arranger, and producer Davor Jordanovski.
Dagan’s previous recordings, S’Cat Got My Tongue (2009) and Less Than Three <3 (2012), solidified his forward-thinking artistic voice. In 2017, with the support of over 200 crowdfunding contributors, he created the visual album Nathaniel: A Tribute to Nat King Cole, a first of its kind in the jazz genre — a collection of 12 music videos that won critical acclaim and recognition at film festivals worldwide, as well as an official showcase at SXSW.
Dagan’s rich bass-baritone is unmistakable; his irreverent songcraft speaks to the lineage of Nat Cole novelty numbers and the impeccably swinging humor of the late Bob Dorough and Dave Frishberg. His scat singing has the natural, fluid, bop-inflected feel of the best in that idiom. Click Right Here, his most ambitious project to date, is sure to take him to new destinations, onstage and online.
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Pete Miller Explores Duality on “The Dazzling Kimberly”
Pete Miller’s ‘The Dazzling Kimberly’ is a profound exploration of the intricacies of human emotion and the complexity of our relationships. Through its narrative, the song delves deep into the heart of love, loss, and the paths we choose in life. The protagonist’s journey of self-reflection and contemplation, sparked by the enigmatic Kimberly, serves as a mirror to our own experiences with love and the often painful lessons that come with it.
“The Dazzling Kimberly” is a poignant song that narrates the story of two twins embroiled in conflict, who are brought together and eventually reconciled by their interactions with a mystical figure named Kimberly. This song, with its rich narrative and allusions, particularly to the biblical story of Jacob and Esau, offers a layered exploration of themes such as rivalry, redemption, and the ephemeral nature of life and relationships.
The song opens with a vivid depiction of one twin’s sense of guilt and moral ambiguity, contrasting his own cunning with his twin’s straightforward approach. This internal conflict sets the stage for the entrance of Kimberly, a figure whose very existence seems otherworldly, serving as a catalyst for change and reflection in the twins’ lives.
Kimberly, characterized by her wisdom and almost supernatural presence, challenges the narrator to reconsider his values, suggesting that victories won through cunning lack the essence of true love and fulfillment. Her influence is profound, guiding the twins towards a reconciliation that seemed impossible before her intervention.
The chorus of the song encapsulates the narrator’s deep yearning and the transformative impact Kimberly has had on his life. It questions the value of freedom and the significance of their bond, highlighting the impermanence of life through the metaphor of fading air and shifting sands.
The resolution of the twins’ conflict, prompted by Kimberly’s disappearance (or passing), symbolizes a newfound maturity and understanding. The once-contentious land becomes a symbol of their shared heritage and reconciliation, underscoring the message that love and unity are more valuable than any material possession or victory.
The allusion to Jacob and Esau provides a biblical backdrop to this tale of rivalry and reconciliation, enriching the narrative with layers of meaning and moral questioning. Just as Jacob and Esau reconcile after years of conflict, so do the twins, guided by the ethereal and loving presence of Kimberly.
The song’s melancholic yet hopeful tone captures the duality of human experience—the longing for what was and the hope for what could be. The moods and themes you’ve described, from melancholy and contemplation to love, regret, and redemption, underscore the universal struggle with fate and the desire for moral clarity and closure.
For further thematic exploration, the works of Leonard Cohen, particularly for their spiritual and existential undertones, or the poetic narratives of Bob Dylan, might resonate with the themes of “The Dazzling Kimberly.” Both artists adeptly weave complex human emotions with broader philosophical and spiritual questions, much like Pete Miller does in this song.
–Ralph Grossman
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Yung Miami Unveils Exciting “Yams” Era in a Dazzling Comeback Trail, Are You Ready for the Yams Revolution
Yung Miami Unveils Exciting “Yams” Era in a Dazzling Comeback Trail, Are You Ready for the Yams Revolution