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Brenda Uchimaru and The Kokoro Singers: Embracing Voices
O happy Fate to be overwhelmed by the cultural force that is the Kokoro Singers under the inspired artistic direction of Brenda Uchimaru… O happy surrender to be embraced by the supreme force voices in harmony, swirling in the air of the United Church on West Plains, Burlington, on the afternoon of the 11th of December. For it was then that all fears of having another Christmas stolen from us by the Grinch of COVID-19 were swept away by; surprised by expertly prepared repertoire with which to forget that we were, not long ago, locked away in fear of our very lives. We were, after all at WinterSong 2022…
Brenda Uchimaru may not have the highest profile among artistic directors of ensembles – choral or otherwise. However, she among the most accomplished of that tribe anywhere and her reputation among musicians and cognoscenti is equal to anyone in her sphere of music. Easily one of the busiest artistic directors since she graduated from the University of Toronto with two Bachelors’ Degree[s] in Music Education, Ms Uchimaru has [since] founded several celebrated choral ensembles and is currently the artistic director of two choral ensembles – the Cambridge Male Chorus and, of course, the Kokoro Singers.
The word Kokoro derives from a Japanese word, the essence of which has come to mean the centre of life, the beat of the heart, inner meaning and soul. As a choir, Kokoro’s repertoire spans all genres, but finds most of its expression in compositions that give voice to the emotion within the poetry. Idioms of jazz, folk, gospel and spiritual find their way into each programme. In addition to two annual concerts, the Singers also give back to the community through fundraising events for organizations supported by Kokoro members – one of which is sockscanada.org which was represented on this occasion by Ann Forbeck [a soprano from the Kokoro Singers, driving the SocksCanada initiative].
And so we gathered in hope at the proverbial sanctuary of tiny church with unsurprisingly beautiful acoustics as much to forget the existential economic and social woes which have gripped our very beings. The programme – for Wintersong 2022 – was replete with music aglow with the hopeful warmth and cheer of the coming season of Christmas. It bears mention at the very outset that while the Singers could be a formidable a capella ensemble they soared even higher egged on by a pianist and not-so little drummer boy.
Presently, with minimum fuss, the 21 sopranos, contraltos, tenors and bass/baritones that formed the Kokoro Singers – augmented by the “collaborative pianist” Becky Booker and [on two occasions] the percussionist Steve James – all of whom were shepherded by the gentle, secret swirling gestures by Brenda Uchimaru. We were, quite magically, made to forget that we were actually rooted to the hard – albeit burnished wood – of church-pews, intended, some would say, to keep the faithful awake in the event of a long and meandering Sunday Lesson.
Our faces dappled by sunlight that filtered through stained-glass windows, our sublime comfort was assured by the Singers as they elevated the senses to the rarefied realm. No sooner had the Singers launched into Make We Joy Now In This Fest by Matthew Culloton than we were transported by this choir of proverbial pied pipers. With glorious harmonies charging every particle in the sanctified air we were transported to another world of hope and joy and the eloquent music of WinterSong 2022.
How noble and restrained were the Kokoro Singers from right out of the gates. Yet behind that – inside – was the intense fire of splendid musicianship. The sopranos soared, contraltos and tenors rustled the lyric like raw silk, and the basses and baritones grumbled elegantly as the Singers melded into a marvelous whole, leading the ever-willing faithful through the throes what came to be a musical rapture.
With the sacred not hidden, but gently ensconced in the secular the Singers and Ms Uchimaru beckoned us to the humble crèche in Bethlehem with John Rutter’s timeless Nativity Carol which was followed by the eternal classic Away In A Manger, though not before a timely reminder that the song was composed by the gifted Canadian composer Victor Mio. Not long after, the Advent hymn Good Christian Men Rejoice [sung in English, but adapted from the Latin psalter hymnal in which it is entitled In Dulchi Jubilo, by the 19th century scholar and musician, J. M. Neale called in to play a marching rhythm, and featured the percussion colourist Steve James.
That [aforementioned] brisk hymn was arranged by the prodigious Darmon Meader of the New York Voices. Mr James returned for another gorgeously performed [Darmon Meader] arrangement of the interminable O Come, O Come Emmanuel, which ended the first section of the programme. However this was not before Ms Uchimaru graciously left the floor to soprano Ann Forbeck, who introduced – and read – little tree a poem by the iconic post e.e. cummings. The Singers then launched into a marvelously florid arrangement of cumming’s poem set to music by Steve Herzog.
The two enthralling sets were separated quite suddenly by a caroling insert featuring all of us in the audience who were bold enough to raise our voices in song. We were, of course, guided by Ms Uchimaru and a stripped down iteration of the Kokoro Singers. Bracing ourselves, we sang heartily: Joy to the World was followed by The First Nowell.
The audience’s star turn was brought to a close with a rousing rendition of Good King Wenceslas. The timeless carol told the story of the life of Saint Wenceslaus I, Duke of Bohemia [907–935] who embarked on a journey, braving harsh winter weather, to give alms to a poor peasant on the feast of St. Stephen [the 26th of December, the Second Day of Christmas]. It was a thrill to play, variously, a group of poor peasants who were waiting to benefit from King Wenceslas, we also sang the role of the king, as well as the king’s page who was about to give up the struggle against the cold weather, but was inspired to continue the mission by following the king’s footprints, through the deep snow.
Ms Uchimaru then handed the stage to the bass-baritone, Luke Fillion, who introduced the audience to the opening song of the second set. Sing Gently was brought to life in the flesh, so to speak by the Kokoro Singers. The chorale was composed by the much-talked about Eric Whitacre and performed by a monumental Virtual Choir, which also featured Mr Fillion, together with 17251 other singers from 129 countries. Check out that performance below. It bears mention that the choral evensong was magically interpreted by the Singers in their smaller-ensemble version.
YouTube Video – Eric Whitacre’s Virtual Choir 6: Sing Gently
The second set had a more contemporary and somewhat jazzy groove with such evocative pieces as One Song from the indelible pens of Alan and Marilyn Bergman, and Marvin Hamlisch, arranged by Mark Hayes. The wonderfully raucous bit refers to the drinking song Wassail, which featured challenging changes in time-signature, not to mention a motoring rhythm throughout.
This choral recital was memorable as much for what was in the repertoire as it was for what wasn’t. We are, indeed, in Christmastime and it is always a joy to listen to – even to attend [again and again] one of two traditional events: and by that one refers to Nutcracker Suite by Tchaikovsky and/or Handel’s Messiah [this great oratorio is much more than the Hallelujah Chorus, one may add]. While both are, indeed edifying experiences [revisited again and again, no less], it is also heartening therefore to find choral artistry outside of the tried and tested [albeit wonderful] Voces8 and others.
Brenda Uchimaru’s Kokoro Singers ought to be better-known and appreciated – concerts like this one stand out from among the crowded fare at this time of year. The Kokoro Singers presented a breathtakingly evocative recital with Brenda Uchimaru calling to mind the legendary Ward Swingle and [the Singers], his iconic group The Swingle Singers… WinterSong 2022 also helped one discover the prodigiously gifted pianist Becky Booker, who played a stellar role in the unforgettable evening, and Steve James, who may otherwise be seen and heard performing with city jazz ensembles. Above all it was heartening to listen to the Kokoro Singers and speak with their artistic director Brenda Uchimaru – all of whom truly embody heart and spirit not only of music, but of everything that is edifying about Humanity itself.
The Kokoro Singers at WinterSong 2022 were:
Sopranos – Michèle Atack, Sandra Corker, Esther Etchells, Ann Forbeck, Laura Kotyk, Wendy Lee, Sheila Mascarin, Tammy Rogerson, Kelly Stadler and Linda Yamamoto; Contraltos – Marisu Hunt, Debra Kumita, Darlene MacDonald, Louise McAndrew, Alison Simpson and Lorraine Yamamoto; Tenors – Andy Hui, Greame McMath and Bob Stadler; Bass/Baritones – Randy Coutts, Luke Fillion, Elvis Husic, Michael Lee and John Morton. Artictic Director – Brenda Uchimaru
Deo gratis
How one composer spent four decades forging a distinctly Québécois path through the experimental music landscape
When Joane Hétu picks up her alto saxophone, she claims territory. At sixty-six, the Montréal composer, vocalist, and saxophonist has spent forty years carving out space for experimental music in Québec, building institutions and communities that define the province’s musique actuelle scene.
Her latest recording, Elle a son mot à dire, captures Hétu leading Ensemble SuperMusique through thirteen of her compositions from across two decades. The album opens with “Elle n’a pas de mot” (She has no words)—a brief ambient piece that stacks wordless singing atop a chorus of “whirly tubes,” ribbed hoses spun above players that pirouette through the harmonic series. An apt introduction to an artist who has spent her career finding new ways to give voice to the unspoken.
Finding Her Voice in the Underground
Hétu’s path began in the early 1980s with avant-pop groups like Wondeur Brass, Justine, and Les Poules. These bands merged the pluralist ethos of New York’s downtown scene with European progressive sensibilities while maintaining something distinctly Québécois. “I was very young, in my twenties, and this fusion happened quite instinctively, without real premeditation,” she recalls. Through connections to figures like Zeena Parkins, Ikue Mori, and Fred Frith, and the Recommended Records network, these groups found their place in an international experimental music community.
Even while performing with these bands, Hétu was thinking beyond individual artistic expression. In 1980, she co-founded SuperMusique with Danielle Palardy Roger and Diane Labrosse. Eight years later, they organized a Festival of Innovative Women Musicians, devoted entirely to women’s groups working in avant-garde music—a radical curatorial gesture that signaled Hétu’s growing interest in building infrastructure alongside making music.
“We were connected to the New York scene,” Hétu explains, “but we wanted to create something here, something that would support the community we were building in Montréal.”
From Performance to Institution
The instinct to support that community would shape Hétu’s career as much as her compositions. By 1998, she had taken on co-direction of Ensemble SuperMusique, transforming the organization into one that explicitly welcomes “emerging artists, mid-career artists, and major figures alike.” Where many experimental music scenes fragment along generational lines, Hétu has consistently worked to bridge those gaps.
“This intergenerational cohabitation is a great richness for us,” she explains. “It opens perspectives, stimulates listening, and provokes essential exchanges.”
On Elle a son mot à dire, this collaborative philosophy becomes musical practice. In “Mot elle a,” vocalist Sarah Albu’s written part interweaves with improvised percussion, creating what Hétu calls “flexible, malleable” pieces that depend on interpretation. “For now, I only have one recording, but I hope it will live through other recordings and interpretations,” she says. “This is one of the objectives of open scores: to encourage multiple and living interpretations.”
[click on image to enlarge]
The Economics of Experiment
Running an experimental music organization led Hétu deeper into the infrastructure questions that determine which music gets heard and preserved. As founder and longtime president of DAME Records (Distribution Ambiances Magnétiques Etcetera), she took on the less glamorous work of documenting and distributing Canadian experimental music—a role she maintained for three decades.
“I’ve always had a passion for sound recording,” she reflects. “From 1985, I got involved in Ambiances Magnétiques, then DAME took over.” The work came with unexpected costs. “After my daughter’s birth in 1990, I was looking for a certain stability, knowing that tours would be more difficult. Naively, I believed that having a record label would offer a form of security. It was quite the opposite. This enterprise cost me a lot in creative time. Looking back, it’s perhaps what I regret most: having carried it for so long, for thirty-three years.”
Despite the personal sacrifice, DAME has documented a vital chapter in Canadian music history, providing a platform for artists like Jean Derome, Pierre-Yves Martel, Tim Brady, and dozens of others who might otherwise have remained unrecorded. “DAME documents this precious musical heritage and ensures that these musics are represented, supported, available, and that this artistic history is accessible,” Hétu explains.
Claiming Creative Territory
The questions of space and belonging that drove Hétu’s institutional work find their most direct artistic expression in her concept of territory. The idea runs through much of her work, most explicitly in her piece La femme territoire ou 21 fragments d’humus. For Hétu, territory encompasses everything from the intimate to the political: “the Earth, my room, Quebec, my soul—a woman who becomes vastitude.”
“In it, I take a position, as a woman, on my territory—intimate and collective,” she explains. “I doubted while writing it; I had trouble trusting myself. Today, I’m happy with the path traveled and with this work.”
The territorial thinking extends to her approach to voice and instrumentation. Hétu never formally learned to sing, drawing from influences like Tenko, Phil Minton, Jaap Blonk, and Paul Dutton. “I have a deep love for the voice and its noise-making potential. It’s visceral and fundamental to me,” she says. In her work with La chorale bruitiste JOKER, founded in 2012, she explores what collective vocal improvisation can accomplish using techniques like soundpainting.
[click on image to enlarge]
Seasons of Composition
Hétu’s relationship to place extends to her famous engagement with Québec’s harsh winters. Where others see obstacles to cultural life, she found creative catalysts. Her trilogy Musique d’hiver emerged from the practical reality that “January, February and March are rather quiet in the record industry, which leaves time to compose.” But the relationship between season and creativity runs deeper than scheduling.
“I love winter, I love the sound, the cocoon effect it produces,” she explains. The final piece in the trilogy, Récits de neige, focused specifically on snow’s geometry: “I hoped to compose 30 short pieces that musicians could amalgamate as they want, like snowflakes, which each have a different geometry.”
Building for the Future
Today, as Hétu approaches her fifth decade in music, she remains committed to the experimental principles that have guided her career while grappling with new challenges facing the experimental music community. “I believe the public has the capacity to welcome innovation,” she argues. “But it needs tools, which are becoming scarce: radio broadcasting, interviews, production support, and venues dedicated to new music.”
Her work with Ensemble SuperMusique continues to demonstrate that experimental music can build lasting institutions and communities. Recent projects include ongoing workshops in graphic scores and conducting gestures, international collaborations, and regular concert series that have sustained the musique actuelle community for decades.
“I respond to the call, to the impulse of the moment. I am still, fundamentally, the same composer,” Hétu admits. Viewed across four decades, her work reveals a consistent thread: the understanding that experimental music concerns itself with creating the conditions for a community of artists to flourish.
In an era when funding for experimental music remains precarious and cultural institutions focus on measurable outcomes, Hétu’s approach offers a different model. Her career demonstrates that sometimes the most radical act is creating space for other voices to emerge, building the infrastructure for artistic communities to sustain themselves across generations. After four decades, Joane Hétu still has something to say. She’s still creating spaces for others to find their own voices within the experimental music territory she has helped map. In Québec’s cultural landscape, that may be her most enduring composition.
“One of the most unforgettable moments of the Festival was the electrifying performance by Trombone Shorty & Orleans Avenue”
The Festival International de Jazz de Montréal took place from June 26 to July 5, 2025, in the Quartier des Spectacles. The 45th edition of the world’s largest jazz festival was a resounding success, attracting jazz enthusiasts from around the globe.
The Heart of the Festival
Located in the heart of downtown Montreal, the Festival site becomes a meeting place for jazz lovers worldwide for ten days. The area is closed to all vehicular traffic and remains open until midnight, allowing visitors to enjoy close to 150 indoor concerts and more than 350 free, open-air shows presented on the specially redesigned Quartier des Spectacles.
A Personal Journey
As a jazz fan and festival enthusiast, I had always intended to attend the Montreal Jazz Festival. Despite missing several chances, I finally managed to go this year, although for a shorter time than I would have preferred, from June 30th to July 3rd.
Arrival and First Impressions
I enjoyed a pleasant 5-hour Via Rail train trip from Toronto to Montreal, arriving around 2 PM. After settling into my Airbnb, I found the jazz festival site and met up with Danilo Navas, the editor-in-chief of That Canadian Magazine. We eagerly waited for the first act to perform on the TD Stage, a free concert by UK tenor saxophonist Nubya Garcia.
Garcia and her band delivered an energetic and incredibly enjoyable set that featured music from both of her recordings. This is an artist I will be watching more closely.
One of the most unforgettable moments of the festival was the electrifying performance by Trombone Shorty & Orleans Avenue. This mind-bending concert had everything thrown into the mix, creating an explosive fusion of world jazz, funk, and New Orleans soul.
The unbridled excitement and energy from the stage were infectious, drawing the audience in and making them an essential part of the show. The crowd danced, cheered, and grooved to the irresistible beats, unable to resist the magnetic pull of Trombone Shorty’s music.
After this exhilarating experience, the only thing left to do was find a chill spot to unwind and bask in the afterglow of this burst of New Orleans magic.
Canada Day Celebrations
On July 1st, Canada Day, I took a walk to Old Montreal to check out the celebrations. The area, reminiscent of Europe, was closed off to most traffic, allowing visitors to enjoy the numerous restaurants with patios and sidewalk cafes. I indulged in a coffee and biscotti at one inviting cafe before making my way back to the jazz festival area, with a brief stop in Chinatown for some delicious dumplings and soup.
Memorable Performances
This Canada Day was my most active in terms of concerts, with three free shows happening almost consecutively at outdoor venues.
The Sugar Darlings: Miche Love, a key figure in the Montreal blues scene, captivated the audience with her powerful and soulful voice, supported by the electrifying solos of Paul Lucyk on guitar and Kaven Jalbert on saxophone.
Julien Fillion Band: This lively quartet, led by the talented Julien Fillion on saxophone, guitar, and keyboards, delivered an energetic performance to a rain-soaked crowd. The show must go on despite the unpredictable weather challenges.
Endea Owens & the Cookout: Detroit-raised recording artist, bassist, and composer Endea Owens captivated the audience with her soulful singing and jazz and soul-infused playing.
My Last Full Day at the Festival
My last full day at the festival was spent exploring the grounds and soaking in the vibrant atmosphere of the Montreal Jazz Festival, discovering the many facets of this grand celebration.
Christine Jensen Quartet at Le Studio TD
One of the last jazz concerts I attended was at an indoor venue that offered a free performance by the Christine Jensen Quartet, which featured alto saxophonist Christine Jensen. This outstanding group of world-class musicians includes Jim Doxas on drums, Gary Versace on keys, and Adrian Vedady on contrabass. The quartet played tunes from Jensen’s latest recording, “Day Moon,” released in 2023, as well as selections from her other quartet albums.
A Memorable Experience
In summary, the Festival International de Jazz de Montréal is an excellent event held at a captivating venue, offering a wonderful experience with many free concerts and more. I look forward to returning and delving even further into the modern music of our era.
Editor’s Note: We will publish our photo gallery from the 45th Festival International de Jazz de Montréal in a separate post in the next few days.
Luminato at Harbourfront – June 15, 2025
Somd’agua: A Dance Migration Performance
A mesmerizing collaboration featuring Esie Mensah, Alex Oliver, Reimundo Sosa Reinoldes, and Adrianna Yanuziello, Somd’agua provided a profound exploration of Afro-Brazilian culture. The performance artfully depicted the sacred connection between the deities Oxum and Yemanjá through movement and rhythm.
The fusion of powerful singing, chanting, and dynamic Afro-Cuban and Afro-Brazilian percussion created an immersive backdrop for the dancers’ graceful movements.
As the river meets the sea, the performers wove their magic, creating a flowing exchange of energies that stirred deep emotions and evoked memories of distant lands.
The natural setting of Harbourfront Centre enhanced the experience, with the breeze from Lake Ontario and passing tall ships complementing the performance’s aquatic themes. The audience’s enthusiastic participation peaked during the climactic duet, where the dancers achieved perfect harmony.
Santé! By Cirque Kikasse
Quebec’s innovative circus troupe transformed a food truck into an extraordinary performance space.
Their show seamlessly blended fast-food preparation with spectacular acrobatics, showcasing remarkable athleticism and gravity-defying feats both on and above their unique mobile stage.
Musical Performances and Workshops
Afro-Indigenous roots of Colombia Cumbia workshop with Beny Esguerra
Beny Esguerra, the Juno-nominated multi-instrumentalist, delivered an engaging exploration of Afro-Colombian rhythms. Accompanied by his daughter, who acted as her father’s assistant. She helped distribute percussion instruments.
Esguerra created an interactive experience where the distributed percussion instruments became integral to the musical performance. It featured a fun and engaging demonstration that showcased the communicative power of drumming.
Kombilesa Mi
This vibrant Afro-Colombian ensemble brought the distinctive sounds of San Basilio de Palenque to life. Their dynamic performance merged traditional rhythms (Mapalé, Bullerengue, Son Palenquero) with contemporary hip-hop elements, performing in both Spanish and their native language, Palenque.
Formed in 2011, the group serves as a cultural bridge, connecting young people with their heritage while embracing modern musical expressions. The show was well-attended, and these fantastic entertainers had the crowd singing along, clapping in time, and seemingly having a joyful experience.
The festival experience concluded perfectly with an evening stroll along the Harbourfront paths. The day’s artistic celebrations settled into memory as night descended over Lake Ontario.
Photo Gallery: Adrianna Yunuziello Dance Migration performing Somd’agua
Photos by Paul J. Youngman [click on images to enlarge]
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