8 years ago

Volume 13 - Issue 6 - March 2008

Sat Mar 1Fri Mar 7Sat

Sat Mar 1Fri Mar 7Sat Mar 8Fri Mar 14Sat Mar 15Fri Mar 21Sat Mar 22Fri Mar 28Sat Mar 29FriApr4Sat Apr 5FriApr 11SatApr 12Fri Apr 18Sat Apr 19FriApr 25Sat Apr 26The llome Smuh RarLemon, Smylie, Peterson TrioBryan Toner TrioArnold Faber TrioWaylen Miki DuoDel Dako TrioGOOD FRIDAY - no bandElizabeth Shepherd DuoBill McBirnie TrioRichard Whiteman TrioDusty Bohdan DuoRon Davis TrioMark Ucci TrioSultan of StringsSean Bray DuoRuss Little trioReg Schwager DuoHeather Bambrick TrioFridays & SaturdaysJazz Sets begm8:30 pm - 11 :30 pmLimited Seating availableNo reservationsCover: .00 per personLight menu availableFree onsite parkingCome relax and unwind inthe intimate surroundings ofThe Home Smith Bar. Enjoy themellow and soulful soundsthat emanate from theWhat a Bore!This issue ofWholeNote dealslargely with earlymusic and early instruments.Jazz,being a much youngerstyle of music, doesnot have the samehistory and I ineage,but does have anabundance of colourfuland interestingstories from its earlydays.Traditionally, thehorns in a jazz bandwere trumpet, trombone,clarinet and, inspite of what some"purists" claim,saxophone, many ofthem leftovers fromthe U.S. Civil War.The story of theclarinet, for example,is a fascinating one.Jazz Notesby Jim GallowayJACOUES ALBERT FI LS :: LOND ON lit DRUSS'ELS''""' ,l.,.'· ' . " 1.,,1 ,,,.,.11 ·,,1, 1 lllfl':I l-1•,l,.,11,l-f,' ,•I- 'f'I• 'II I. ,I ~tI ,I· I,I nJt,,1,1 11

playing the exact same instrument. The fact remains, though, thatthe innate sound of the two systems is quite different.But whatever system, the clarinet is a beautiful sounding instrumentwhich reached its height of popularity during the swing erawhen Benny Goodman was the 'King of Swing' . With the arrival ofbebop the saxophone became the predominant reed instrument, butof late the clarinet has had something of a small resurgence thanksto the efforts of players like Ken Peplowski, Allan Vache, EddieDaniels and Don Byron.Shanghai ShuffleThe world is gearing up for the Olympics in China, a country thatnot so long ago would have been a less than likely choice, and alittle research led me to something else a little unexpected from theearly days of jazz-the Story of Shanghai Jazz.In the 1920s there was quite an active jazz scene in the dimly litcabarets and dance halls of Old Shanghai . This was the Jazz capitalof Asia. The musicians were Western with a sprinkling of Filipinosand the music found a home in the world of mobsters, high rollersand fun seekers. It flourished in these smoky night clubs, but therewere , of course, critics who called the music sinful and 'pornographic'(does this sound familiar?) and the Shanghai Conservatory,for example, considered jazz to be 'a bad form of Western music .'Then in 1935 a Chinese gangster named Du Yu Sheng, who wasto Shanghai what Al Capone was to Chicago, decided to create thefirst all-Chinese jazz band. It had the somewhat questionable nameHOT JAZZSTRING QUARTETSun. March 9 · 2pmRoyal York RoadUnited Church851 Royal York Rd,Etobicokeof "The Clear Wind Dance Band"and they played at the YangtzeRiver Hotel Dance Hall. Theleader was Li Jin Hui , a 36-yearoldcomposer who was destinedto become known as the "Fatherof Chinese popular music." Hewas also a social activist and ahuge force in shaping Chineseculture. He put forward the concept(later adopted) , of one nationallanguage and was active inintroducing educational reform .He wrote plays which had maleand female actors on stage together- something that was quiteunheard of at that time-and criticsaccused him of corruptingpublic morals. They were equallydismissive of his work in jazz,calling it "Yellow Music. "That he had good taste in jazz isFeaturing some of Toronto's best jazz musicianswith a brief reflection by Jazz Vespers ClergySunday, March 2nd at 4:30 p.m.JOE SEALY & PAUL NOVOTNYSunday, March 16th at 4:30 p.m.MIKE MURLEY & DAVID OCCHIPINTISunday, March 30th at 4:30 p.m.THE TARA DAVIDSON TRIOWWW. THEWHOLENOTE.COM 23

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