James Grant, an American-Canadian composer, has been regularly commissioned by a variety of orchestras, choruses, and chamber ensembles and is in demand for his thoughtful and savvy writing for specific instruments as well as his incorporation of influences from jazz, pop, and other styles. Grant taught composition at Middlebury College in Vermont before he began composing full-time, and he has been composer in residence for the Fairfax Symphony Orchestra in Virginia and the Bay Atlantic Symphony in New Jersey.

Grant’s works include concertos for bass clarinet and alto saxophone as well as a double concerto for euphonium and tuba. With the addition of several other works for tuba and euphonium, Grant has garnered some attention from the low brass community with a feature in T.U.B.A. (now ITEA) Journal and several dissertations focused on these works. Today, Grant is still composing while also serving as the Director of the new Thriving Cultures Organic Sourdough Bread bakery at Muskoka Market & Eatery, a not-for-profit, member-owned community grocery providing sustainable, ethically sourced foods from local farmers and producers.

Chocolates is a set of three torch songs that was originally commissioned and recorded by Michelle LaCourse for viola, and versions for clarinet and bassoon soon followed. The title was inspired by Grant’s gift of chocolate truffles to LaCourse following their 1997 collaboration on his viola concerto.

Whether or not Triple Mocha Indulgence was named intentionally for its apparent form, it comes across in three sections: a sorrowful, blues-inspired opening, the cheerful middle section, and an exciting closing section reminiscent of mid-twentieth century ragtime. The slow, sentimental opening features relaxed interplay between the soloist and the piano. The second and more animated section introduces an easy-going swung feel with surprising moments dashing through straight eighth notes before returning to the lively swing. These rhythmic shifts complement the playfully leaping melody. The enthusiasm continues to grow throughout the closing including the unexpected moment the bassoon plays a named excerpt from “Jesu, Joy of Man’s Desiring” with an instruction for it to be “played ‘classically.’” It is as though the soloist is daydreaming for a moment before returning to the main idea with the direction from the score: “back to jazz.” This playful distraction is followed by a shift in meter that solidifies the ragtime feel. The drama is built with moments for the piano to shine and a few pauses before the enthusiastic ending that could only be elevated further by the performer’s option to “execute a long ‘Gershwin gliss.’”

—©Ainsley Berryhill