Page 69 - CJMay2026

tion, and as a conduit for change.” Indigenous impro- land, it teaches us many things, we must take care of it
visations by performer and ethnomusicologist Sherryl together.”
Sewepagaham are positioned between each of the five The narrative and musical structure of Where Waters
movements. Much like arias in Bach’s Passions, these Meet culminate in the album’s two final tracks. While
chants expand upon texts and themes found within its on display throughout this recording, no more is CCC’s
neighboring choruses. devotion to musical excellence demonstrated than in
Where Waters Meet opens with “Morning Drum the penultimate track, “Where Waters Meet.” CCC’s
Song,” an invocation similar to a Nigun from Jewish tra- rhythmic drive is palpable, and its vocal intensity is vi-
ditions. This repetitive meditation is followed by Jan- brant. Serving as the recording’s epilogue, “Nipîy” (the
mohamed’s “Sun on Water.” The universality of the final track, composed by Sewepagaham) is a clear ex-
recording’s message is highlighted by Janmohamed’s ample of CCC’s commitment to authentic understand-
use of texts from Hindi and Indic Islamic Muslim tra- ing, with a culturally informed tone and performance
ditions, Psalm 130, and Cree (the latter added especial- practice.
ly for this project by Sewepagaham). Like a film’s “es- Where Waters Meet’s texts and themes are juxtaposed
tablishing scene,” these opening movements confirm in a most thought-provoking manner. By position-
the recording’s theme and tone. ing a plethora of languages and sources—including
The third track, “Water Memories” (movement one Cree, Ojibwe, Latin, Hindu, the Toronto Star, and text
of Braden’s piece) is in a quasi-rondo form, alternating from First Nation poet Yolanda Bonnell—the record-
between sweeping lyrical lines and undulating homo- ing’s universal message resonates across cultures. Both
phonic passages that depict the motion, weight, and Sewepagaham and the CCC excel at communication
pull of water. Track five, “Nibi” (Ojibwe for “water”), through clear and authentic diction. It is unfortunate
reveals CCC’s command of vocal color and musical in- that the tiny font size of the accompanying program
terpretation, as well as Braden’s expressive text-setting. notes and text/translations obstructed this message;
For example, the spacious texture on “echo through its powerful texts, descriptive poetry, and information
vast expansion” is particularly notable. These econom- about the work were difficult to read, creating an ac-
ic harmonies and repeating phrases remind this review- cessibility issue.
er of the works of David Lang and Caroline Shaw. Despite this, Where Waters Meet is an immensely mov-
Just as the “Et incarnatus est,” “Crucifixus,” and “Et ing recording that illuminates the symbiotic relation-
resurrexit” from Bach’s B minor mass form the structur- ship between people and water. It stands as a testament
al and theological crux of its “Symbolum Nicenum,” to how respectful collaborations can produce art that
tracks six, seven, and eight act as a similar focal point honors humanity’s unique perspectives and fosters dia-
for this recording. “Kitaskinahk” (track six) acknowl- logue between diverse cultures. In particular, the CCC’s
edges the original inhabitants with the text, “I am from collaboration with Indigenous communities establishes
here, I am proud to be from here,” and is followed by them as a standard-bearer for meaningful multicultural
track seven, “In Local News, Water,” which presents musical exchanges.
prose from the 2022 Toronto Star article: “‘Disrespected,
violated, contaminated’: Researcher says safe drinking C. Michael Porter
water shouldn’t fall solely on the backs of Indigenous Boise, Idaho
peoples.” This parlando-esque movement is a clever
approach to setting prose rather than poetry and re-
sembles the technique of Anglican chant/psalm tones
before morphing into an aleatoric soundscape. Using
the final words of track seven as its impetus, sung soar-
ingly by Chloé Thiessen, track eight reinforces this call
for “action” by directing the listener to “Listen to the

CHORAL JOURNAL May 2026 Volume 66 Number 8 67