Murray A. Lightburn’s smooth vocals shine on this elegant jazz tour de force solo release.
Once Upon A Time in Montreal is excellent. Full stop. Each song shines on its own, but in succession, they form an elegant, coherent piece of Canadian jazz excellence. The glue holding together the project is undoubtedly Murray A. Lightburn’s crooning, polished voice, yet each component of this record shines brightly. Written as a sonic biopic about Lightburn’s late father, the album’s writing is particularly notable, with songs touching on existential themes of love, time, and mortality.
The lead single, “Dumpster Gold,” opens the curtains to reveal a sombre and melancholy scene. The hauntingly beautiful chorus and swelling strings are divine; the lyrics are poignant: “It would have been so nice / Exchanging words just once or twice.” Lightburn’s soulful voice blends smoothly with the instrumentation on “No New Deaths Today” and “In The Kingdom of Heaven,” with the former featuring a plodding, deep bass line that fuses perfectly with his rumbly vocals.
“The Only One I Want to Hear” is intimate yet airy, demonstrating clean and crisp production. The lulling stillness of this track is interrupted by the suave “Oh But My Heart Has Never Been Dark.” Though Lightburn’s gentle vocals are initially at odds with the bolder instrumentation, the two merge into one of the album’s most memorable choruses. The smooth vocals are once again present on “Reaching Out For Love,” whose pleasant piano chords serve as a beacon of light on this moody journey.
The title track, “Once Upon A Time In Montreal,” deserves a paragraph of its own. Playful, climbing piano notes, dreamy strings, crooning vocals, and muted guitar licks all form the album’s most charming track. Yet the highlight of Once Upon A Time in Montreal — if not one of the musical highlights of the year thus far — is the goosebump-inducing saxophone solo that bursts through Lightburn’s soaring voice. The colour and texture are palpable, and the screams and wails are soul-stirring. Though the slow ballad “Girl You’ve Got To Let Me Go” closes the record, the penultimate title track truly encapsulates the album’s spirit. Its candlelit tone provides warmth in these frigid times. “With no regrets, I’ll say goodnight / From Montreal.”
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