Views
4 years ago

Volume 9 Issue 1 - September 2003

  • Text
  • Toronto
  • Jazz
  • September
  • Festival
  • Sept
  • October
  • Theatre
  • Musical
  • Arts
  • Instruments

Mississauga

Mississauga Pops·Concert Band Conductor: Denny Ringler Contact: Allan Harris .(905) 681-2047 Rehearsals: Wednesdays, 7:30 p.m. at Eden United Church, . NW corner of Winston Churchill & Battleford, Mississauga Instruments rieeded: n/a Peel Police Chief's Ceremonial Band Conductor: Lino Varano Contact: Band Mapager, Leona Beck (905) 790-0171 Rehearsals: Wednesdays, 8:00 p.m. at Peel Police Headquarters, 7750 Hurontario St., Brampton Instruments needed: all (minimum age 17) Thorold Reed Band Conductor: Brian Williams Contact person: Brian Williams (905) 227-0150 Rehearsals: Wednesdays, 7:30 p.m., St. John's Anglican Church, Ormond St., Thorold Instruments needed: all Clarington.Concert Band Conductor: Barrie Hodgins Contact: Colin Rowe, President (905) 697-8956 or claringtonconcertband@yalloo.ca Website: http:// www.geocities.com/ claringtonconcertband Rehearsals: Thursdays, 7:30 p.m. at Bowmanville Sr. P. S., I 05 Queen St., Bowmanville Instruments needed: all Fort Erie Legion Concert Band Conductor: Brian Williams Contact: Brian Williams (905) 227-0150 Rehearsals: Thursdays, 7:30 p.m., Fort Erie Legion, Military Rd., Fort Erie ·Instruments needed: all Lydian Wind Ensemble Conductor: Calvin Friedrich Contact: William Patton Gary An Toronto's Center for Clarinets and Oboes SALl!;S. * REPAIR * RENTAL 28 (905)666-3169 email: wpatton@sympatico.ca Rehearsals: Thursdays at 7:30 p.m., call for location in Ajax Instruments needed: all, auditions within rehearsals North York Concert Band Conductor: John Edward Liddle Contact: Sidney Gangbar (416) 781-6728 Rehearsals: Thursdays, 8 p.m. Instruments needed: all Swansea Community Concert Band Conductor: Frank Evans Contact: Michelle Springer (416) 286-1045 e-mail address: michellespring68@hotmail.com Rehearsals: Thursdays, 7-9 p.m. at Western Technical and · Commercial School, 123 Evelyn Cres. Toronto (starting Sept. 18) Instruments needed: low reeds, low brass · Bayfield Winds Concert Band Conductor: Hugh McGregor Contact: Paul Dearlove '(519) 565-5611 Rehearsals: every 2nd Sunday, 1:30 p.m. at.Goderich D.C.I. Instruments needed: low reeds, horns, obpe Guelph Concert Band Conductor: Colin Clarke Contact: Leslie MacDonald · (519) 837-0276 Website: http://www.concert band.guelph.on.ca/ Rehearsals: Sundays, 7:00 p.m. at the Guelph Youth Music Centre, 75 Cardigan St. Guelph Instruments needed: all Northdale Concert Band Conductor: Stephen Chenette Contact: Karen Bower (416) 283-4963 Rehearsals: Sundays', 7:30 p.m. at Willowdale United Church, 349 Kenneth Ave., North York ng Wood"};'inds Ltd. ·" 0 ·' 1612 Queen Street West (east of Roncesvalles) Instruments needed: string bas~, oboe, bassoon BRASS BANDS Fergus Brass Band Conductor: Bill.French Contact: Bill Frern;:h (519) 877-9453 Website: http://www.icoillm.ca/ fergusbb/index2.html Rehearsals: Tuesdays at 8:00 p.m. on Blair.St., across from the Fergus Legion Instruments needed: all brass band instruments Metropolitan Silver Band Conductor: Fran Harvey Contact: Ken Allen 416-7 57-8697 or metband@hotmail.com Website: http:// www.metunited.org Rehearsals: Tuesday evenings at 7:45 pm in' the Metropolitan United Church (corner of Queen St. and Church St.) downtown'· Toronto Instruments needed: all brass band instruments Weston Silver Band Conductor: Robin McCubbin Contact: Dave Pearson (905) 772-5205 Website: http:// WWW. westonsil Ver band. org Rehearsals: Tuesdays, 8 p.m., Central United Church, Weston Rd. N .-of Lawrence Instruments needed: cornets, Eb or Bb tuba, 2nd baritone YOUTH BANDS Burlington Teen Tour Band Conductor: Bill Hughes Contact: Rob Bennett, Mus.ic Programs co-ordinator, (905) 335-7807 Website: http:// www. teentourband. org Rehearsals: Music Centre in - Burlington'.s Central Par~ - call for times Instruments needed: all Etobicoke Youth Band Conductors: Les Dobbin and Ken Hazlett Contact: Michael Samotowka (416)-239-9724 Website: http://www.eyb.com Rehearsals: call Instrm:nents needed: all, but ·audition is required Hannaford Street Youth Band Conductor: Larry Shields Contact: Larry Shields (416) 503-8673 Rehearsals: Saturdays ' Instruments needed: all brass & percussion - membership is by audition, pis. call for info package Toronto Youth Wind Orchestra & Concert Winds Conductors: Colin Clarke & David Lum Contact: Adrienne Pluim (519) 835-0492 or tywomanager@yahoo.ca Rehearsals: Sundays, 1 :00 p.m. .St. Michael's College, 1515 Bathurst St. at St. Clair Instruments needed: all, call for audition info Argonotes, the Toronto Argonauts Band are always on the lookout for players to fill out their ranks for the remainder of the CFL season. If you subscribe to their philosophy "faster + . louder = better" ,'then give Musical Dictator (not a typo!) Steve Hayman a call at 416-769- 2847, or go to their website, http://www.argonotes.com. The Hamilton Tiger Cats are looking for musicians to join the Tiger Cat Band for the upcoming 2003 CFL season. You must be 18 years of age by June 1 2003 and own your own instruinent (except drums.) The band will play at homes games parades and local events around the Hamilton area .. For more info contact Rick Allen at either (905)388-8236 preSs #2 or (905)547-2418 x 552. E­ mail is htcband@yahoo.com - please leave a short bio-resume. Saxophonist Merlin Williams is an Artist/Clinician for Jupiter Music Canada. If you would like an upcoming band event to be featured in the Bandstand column, feel free to contact Merlin byemail, merlinw@attcanada.ca; or on the web, at http:// members. attcanada. ca/

Jazz notes by Jim Galloway September Song The form ofa composition is all important. As a listener, it helps your understanding of what is happening on stage. For the musicians it is abso1ute1y necessary. If you are playing original material as a (and how to sing it) group, presumably the musicians Elsewhere in this issue (next page) do 191ow the form. The audience you can read abciut the last festival will have to establish that form in activity in the area, but the tail-end their heads by listening. An underof the festival season means that standing of bask forms can help in the club and concert activities get that process. into full swing again. One of the most basic musical The club scene - that oh, so im- forms is the twelve bar blues.Ifyou portant aspect of the jazz world - .can count the beats per bar,, then is a shadow of what it once was - each progression of twelve bars but it is the best place to continue will take your ear back to the begrowth '\Sa player, because it pro- ginning of a chorus. vides that most important, and Standard popular songs which sometimes elusive ingredient, an make up the basic vocabulary for audience to play for. It is the place jazz musicians are most often in a where a young musician, having 32 bar structure, which is broken studied, practised, read and Jis- down into four groups of eight bars, tened, can "make the scene". ·the first eight being referred to as So, for the benefit of some hope- · A. The second eight is very often a fuls out there, and also for some repeat of the first eight - think of a listeners who are uninitiated into song like "Honeysuckle Rose", and the "secrets" of such impondera- so it is also referred to as A. Then bles as "How do you know when wecometothebridge, often called to come in?", I offer these few the release or middle eight, alwords from this seasoned veteran. though it is the third Of four. This (If you 're not already doing so, is letter .B, after :which the song make a point of checking out our repeats the first eight bars, giving steadily growing jazz listings on us a form of AABA. page 44-45. Your chance is out When you are soloing, that there somewhere.) · form has to be adhered to or you If the following is too simple and will get lost. If you do lose your basic for you, please be tolerant and place while playing, and it can hapforgive me for stating what mi9ht pen to anyone, finding where you seem to be self-evident. It may not are in the. form of the song by lisbe that obvious to everyone. So, tening to what is going on around here goes. you, will set you back on track. Creative jazz playing should in- For example, if we take a basic _ volve the unexpected. I think it twelve bar blues, a signpost that can was Pee Wee Russell who likened get you back on the path is the IV ·it to painting yourself into a corner chord in bar 5. In a standard 32 bar and then trying to get out and he song, the first chord of the bridge was a master at that game! Good can come to your rescue. jazz involves a certain level of If you are a horn player and spontaneity. Things will happen some musieal idea that you are fol- . that you don't expect, just like in a lowing gets you out in left field, it good life and you have to be able to can make sense lo actually stpp adapt quickly to little, and sometimes not so little challenges. playing for a few bars until, you hope, the rhythm section, which will be playing the form, gives you the signal which gets you bacl< on track. And don't feel bad about it. I have heard some wonderful players get so carried away in a musical idea that they get Jost and have to be rescued! . By the way, listening, if you are a musician, is one of the most important aspects of making music. To say so may seem self-evident; but I mean really listening. No jazz group was ever worth its salt ifthe individual members of the group were not paying close attention to what was going ,on around them. It is also a good idea to learn the melody, even if you are not the lead voice, and as a listener, it helps to keep the melody running througp your head as you listen to the soloists: That way, you can understand better what is going on. If the song has a lyric, learn it. At least know what the lyric is about. How else can you really interpret a beautiful ballad? I am only scratching the surface of the above topics and there are other basics to cover, such as intros and endings, but those are other issues for another issue. Guido Basso Candles on the cake. Birthday greetings to some friends this month are in order: Oliver Jones on the 11th, Kathryn Moses on the 19th, and Guido Basso, the 27th. ., Last, a couple of thoughts for the month from the mind of Paul Desmond, who, bn alto saxophone, had one of the most haunting.sounds in jazz. "Writing is like jazz. It can be learned, but it can't be taught." AND "I think I had it in the back of my mind that I wanted to sound like a dry martini." Happy listening Featuring some of Toronto's best jazz musicians ,with a brief reflection by Jazz Vespers Clergy Sunday, Sept. 7 - 4:30 p.m. PAT LABARBERA QUARTET Sunday, Sep. 21- 4:30 p.m. BERNIE SENENSKY TRIO Christ Church Deer Park, 1570 Yonge Street (north of St. Clair at Heath St.) 416-920-5211 Admission is free. An offering is received to support the work of the Church, including Jazz Vespers. guel ph.uu:zfestiva I & COLLOQUIUM ioth anniversary SEPT 3 TO 7 2003 Join us for the premiere performance of Quebecite, a specially commissioned jazz opera with music by 0.0. Jackson and libretto by George Elliott Clarke Friday September s I 8 pm I River Run Centre · adults • _ ~tu/sen For Quebecite tickets call the River Run Box Office: 519fl63-3000 For more information on the co mplete festival line-up: www.guelphjazzfestlval.com info@lguelphjazzfestival.com 519/ 763-4952 29

Volumes 21-25 (2015-2019)

Volume 25 Issue 2 - October 2019
Volume 25 Issue 1 - September 2019
Volume 24 Issue 8 - May 2019
Volume 24 Issue 7 - April 2019
Volume 24 Issue 6 - March 2019
Volume 24 Issue 5 - February 2019
Volume 24 Issue 4 - December 2018 / January 2019
Volume 24 Issue 3 - November 2018
Volume 24 Issue 2 - October 2018
Volume 24 Issue 1 - September 2018
Volume 23 Issue 9 - June / July / August 2018
Volume 23 Issue 8 - May 2018
Volume 23 Issue 7 - April 2018
Volume 23 Issue 6 - March 2018
Volume 23 Issue 4 - December 2017 / January 2018
Volume 23 Issue 3 - November 2017
Volume 23 Issue 2 - October 2017
Volume 23 Issue 1 - September 2017
Volume 22 Issue 9 - Summer 2017
Volume 22 Issue 8 - May 2017
Volume 22 Issue 7 - April 2017
Volume 22 Issue 6 - March 2017
Volume 22 Issue 5 - February 2017
Volume 22 Issue 4 - December 2016/January 2017
Volume 22 Issue 2 - October 2016
Volume 22 Issue 1 - September 2016
Volume 21 Issue 9 - Summer 2016
Volume 21 Issue 8 - May 2016
Volume 21 Issue 6 - March 2016
Volume 21 Issue 5 - February 2016
Volume 21 Issue 4 - December 2015/January 2016
Volume 21 Issue 3 - November 2015
Volume 21 Issue 2 - October 2015
Volume 21 Issue 1 - September 2015

Volumes 16-20 (2010-2015)

Volumes 11-15 (2004-2010)

Volumes 6 - 10 (2000 - 2006)

Volumes 1-5 (1994-2000)