Freedoms is the debut album by Heidi Savoie and some of Toronto’s most exciting young artists. To make an independent album of almost all original work is a daring endeavour in a sound-saturated world where overstimulated listeners crave familiarity. Savoie steps into the world of orchestral jazz as a songwriter, arranger, pianist, and vocalist. She says this project is the result of asking “what would I be doing if I could do anything?”. It turns out “anything” means collecting mason jars and scoring string and accordion music for a horn-dominated genre.

Despite the recording process being complicated by pandemic restrictions, the musicians came together resourcefully. The multi-instrumentalist and sound engineer Blake Hamilton tirelessly ran a problem-solving marathon in order to make the musicians feel as if they were in the same room together, despite being recorded remotely. Cole Canaday and Michelle Faehrmann join him on string arrangements that are reminiscent of Claus Ogerman and Vince Mendoza’s work with Melody Gardot and Diana Krall.

“Dream Sequence” features Jacob Slous’ dreamy and restless drum soloing, with accordion as a subtle nod to the composer’s heritage. We’re still not sure who can sleep through the accordion, but you’re welcome to try. The love songs “How Could I Grow Tired of You” and “As I Am” borrow stylings from the pop idiom to tell candid stories. “I’d rather concern myself with being honest than with being clever”, she comments.

The only cover song on the album, “Chelsea Bridge”, won its spot above many other contenders. It is a long-time favourite of Savoie, who says, “the only way to improve this bridge is to add more Chelsea”, and indeed, Toronto’s own Chelsea McBride brings this Strayhorn classic to new heights.

Being heavily inspired by Strayhorn’s composition and arranging, especially “The Peaceful Side of Jazz”, Savoie has composed a four-part song cycle. It is based on his philosophy of four freedoms: freedom from hate, unconditionally; freedom from self-pity; freedom from the fear of possibly doing something that may help someone else more than it would you; and freedom from the kind of pride that could make a man feel that he is better than his brother. It is especially meaningful that the pursuit of these freedoms (not obligations) is voiced by a black, gay composer who found a way to creatively thrive and innovate despite not being properly credited for his work and facing various discriminations of 1900s America. Although not quite a household name, Strayhorn’s legacy continues to inspire composers and arrangers. The cellist George Crotty brings a wealth of cross-cultural music exploration and ultimate curiosity to his improvisation in these pieces. The fourth movement derives its text from the Hawaiian Huna practice of forgiveness, Ho’oponopono. Forgiveness, not out of requirement, opens the space to be free from superiority.

This album is a story of teamwork and perseverance. In a world that is stormy, confusing and exhausting, a song has the power to remind us of what’s important. This record reflects the struggle of the time in which it was created. Savoie says her ultimate wish is “to give someone a listening experience that lets them find some internal quiet”. Expect more music to come from this artist who is just coming onto the scene!