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Volume 20 Issue 8 - May 2015

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SANJA ANTICBRENDAN

SANJA ANTICBRENDAN MARIANIin celebration of Canada’s 150thAndrew Scottanniversary.”Back to the JAZZ.FM91/IRCPAMusic Business Seminar which was abargain at per attendant – therewas a lot of wisdom to be gained herecourtesy of several invaluable panels.“Be a positive member of thecommunity,” said Carol Gimbel,founding artistic director of the Musicin the Barns concert series. “Findpeople that have a similar mission,”emphasized Barry Shiffman, associatedean and director of chambermusic at the Glenn Gould School,Royal Conservatory, and artisticdirector of summer music programsand the international string quartetcompetition at the Banff Centre. “Ifthe music is good, it should speak foritself,” underlined Josh Grossman,artistic director of the TD Toronto JazzFestival. “Your record, and 50 otherrecords, came today,” advised BradBarker, music director and host ofAfternoon Drive, JAZZ.FM91, so “finda way to be relentlessly polite” and“if you’re thinking about recordinganother version of “Autumn Leaves” ask yourself ifyou are adding anything new.”The recording panel shed light on the process ofcreating product: Steve Bellamy, founder and presidentof Addo Records, and associate dean for theHumber School of Creative and Performing Artsreminded participants that “a lack of planning iswhere most projects go wrong”; JUNO-nominateddrummer/composer and owner of Orange GrovePublicity Ernesto Cervini expressed the importanceof having a good producer: “when you’re in thestudio you want to be able to just play.”Chelsea McBrideThe final panel of the day focused on publicityand how to make it work for you. “We don’t take artists we don’tbelieve in,” said Jane Harbury, president of Jane Harbury Publicity;and Eric Alper, director of media relations, eOne Music Canada andsocial media icon (588,000 twitter followers as of this writing), urgedattendees to “create great content all the time … learn your audience …and take polls.”Yet, for me, it was Levenson’s opening address that remained one ofthe seminar highlights. Emphasizing the importance of questions overanswers, he stressed the importance of passion, conviction, authenticityand above all, a sense of realism. “Musicians are heroes,” he said,“and I believe they should get paid as much as nuclear physicists, butthe marketplace determines the pay.”The hats we wear: We musicians have to wear various hats, sometimessimultaneously. I’m always reminded of this when I do my taxes.Last year I made money by singing, writing, teaching, licensing,royalties, as well as work in public relations, social mediamanagement, website management and booking musical talent.I’m very lucky to be working with music all of the time. The totalof all the income sources I have listed may not have amountedto much if compared to a nine-to-five job, but I wouldn’t tradebeing an artist for anything in the world and one thing’s for sure:there’s never a dull moment.Andrew Scott: In the Toronto jazz community this juggling actof jobs to support one’s artistic career is far from unusual. TakeAndrew Scott, an important member of our community both asa musician as well as an educator, an administrator and an advocate.He describes the various hats he currently wears thusly:“In terms of performing, I play with my own jazz groups ofvarious sizes that often include the great Jake Wilkinson, JonMeyer and Joel Haynes; I play in a very fun three baritone saxophoneband led by Alex Dean called The Travelling Wall-Baris(appearing at The Rex May 15 and 16). I work in a trio settingwith the ever-inspiring octogenarian Gene DiNovi and havea loose cross-border two-guitar group with Randy Napoleon.Outside of jazz, I work with the businessman/singer/entertainerFrank D’Angelo in his 18-piece R&B show band. I also writeabout music, compose music for film and am extremely proudto teach and work as the current acting director of HumberCollege’s Department of Music (2014-2015).Asked what he would do withthree more hours in the day: “Easy.With three extra hours each day, I’dspend more time with my wife andour three wonderful children.”Chelsea McBride: And here’sChelsea McBride, awarded theToronto Arts Foundation’s inauguralEmerging Jazz Artist Award in 2014,in her own words:“Where to begin! I’m a performer/composer/bandleader first and foremost– probably half or more of myperformances are with bands I leador am very involved in, though theprojects I’m a sideperson on arealways fun – mostly contemporary jazz groups or pop cover bandsthat play lots of 70s music. I’m an artistic producer with SpectrumMusic – with the other producers, we handle all the logistics involvedin putting on four concerts a year. We also all write for these concerts,and with the constantly changing instrumentation, it’s always a newchallenge for me as a composer. And it’s lots of fun.“I found a teaching job in Oakville before I got out of school, so I’mactually out there quite often – I teach voice and piano mostly, alongwith my main instruments. There’s a lot less demand for woodwindsat the school I’m at, unfortunately...“In addition to that, I end up doing a lot of administrative work –I’m a copyist for NewYork composer Daniel Jamieson (who’s originallyfrom Toronto), and that occasionally also involves editing/proofreadingnon-musical stuff, which is something I have done for a longFeaturing some of Toronto’s best jazz musicianswith a brief reflection by Jazz Vespers ClergySunday, May 10, 4:30 pmThe Music of Paul Desmond & Gerry MulliganTara Davidson (saxophones), Jon Maharaj (bass),Sunday,May 24, 4:30 pmAdrean Farrugia (piano)TRIBUTE TO CANNONBALL ADDERLEY John Johnson (alto sax),Brian Barlow (tribute talk)Sunday, June 7, 4:30 pmCANADIAN JAZZ QUARTET - Frank Wright (vibes),Ted Quinlan (guitar), Pat Collins (bass), Don Vickery (drums)Christ Church Deer Park, 1570 Yonge St. 416-920-5211(north of St. Clair at Heath St.)www.thereslifehere.org Admission is free; donations are welcome.St. Philip’s Anglican ChurchSunday, May 17, 4:00 PM | Jazz VespersJoe Sealy and Paul NovotnySunday, May 31, 4:00 PM | Jazz VespersRobi Botos QuartetSt. Philip’s Anglican Church | Etobicoke25 St. Phillips Road (near Royal York + Dixon)416-247-5181 • stphilips.net • free will offering32 | May 1 - June 7, 2015 thewholenote.com

time. And last but not least, I’m slowly getting into the grant-writingthing - this has been tricky because, being so recently out of school,I’m not even eligible for some programs still! But I have been gettinglots of practice working with other people on their applications.”Under the umbrella of bandleader, McBride is busy as a beaver:“Chelsea McBride’s Socialist Night School, (appearing this monthSaturday May 23 at the Rex, 3:30pm), performs exclusively originalcontemporary jazz music – more groove-based than swing. Most ofthe music is composed by me, but not all. I also lead a sextet calledChelsea and the Cityscape, which performs more in the singer-songwriter,pop and rock vein. I play standards and a few lead-sheetoriginal jazz tunes that don’t quite fit into either of my other band’sstyles around town every so often under the moniker Chelsea McBrideGroup (appearing this month Friday May 1 at Habits Gastropub). I playin a video game cover band called the Koopa Troop, which is exactlywhat it sounds like – a bunch of jazz-school nerds playing Nintendomusic better than you’ve heard it before. And last but not least, I playin the Brad Cheeseman Group (appearing May 8 at the Jazz Room inWaterloo), which is contemporary small-group jazz music played witha strong focus on the ensemble sound.”Rounding it off: To close this month’s column, here’s another quotefrom the JAZZ.FM91/IRCPA Music Business Seminar, this one by PeterCardinali, owner of Alma Records, which drew from the example ofsoul-jazz superstar Gregory Porter: “There are a lot of 12-year overnightsuccesses.” As such, there is no substitute for hard work and ifas an artist you don’t truly love what you do, you’re in trouble.Thank you for reading this magazine and supporting live music.Check out The WholeNote’s jazz listings and the new column byBob Ben, Mainly Clubs, Mostly Jazz. Be happy while you may, andHappy May!Ori Dagan is a Toronto-based jazz musician, writer andeducator who can be reached at oridagan.com.PINK MARTINITUE JUN 30 8PMFor Tickets Call 416-872-4255Sponsored byor visit roythomson.comBeat by Beat | BandstandHeating UpJACK MCQUARRIEAcouple of weeks ago, having been lulled into complacency by afew warm sunny days, I was under the impression that springhad arrived. A few days later that illusion was shattered by thesight and sound of hail clattering on my windshield. Last night, on mydrive home from a performance, I found myself humming the strainsof Spring will be a little late this year only to have that confirmedwhen I drove in to a snow-covered driveway. Fortunately, through allof this, the community musical groups have been heralding spring ina variety of ways. I had the pleasure of attending a few of these.Recent events: One such concert was “A Salute to the British Isles”by the Clarington Concert Band under the direction of Barrie Hodginswith the Pipes and Drums of the Oshawa Legion. What a variety. Fromthe humour of conductor emeritus Bobby Herriot and the elegantvocal stylings of Donna Lajeunesse and Father Paul Massel to the stirringrenditions of traditional Scottish melodies by the pipes anddrums it was an evening to be remembered, MC’d by Colin Rowe.With the concert being billed as “A Salute to the British Isles,” therewere questions as to how the Radetzky March, a march composed forthe Austrian army by Johann Strauss Sr., qualified as British music.After all, this march was dedicated to Field Marshal Joseph Radetzkyvon Radetz after his victory at the Battle of Custoza. It turns out that,over the 165 years since its first performance, this march has beenadopted as their official march by several military units in variouscountries around the world from Chile to Sri Lanka. One of thosemilitary units just happens to be 1st The Queen’s Dragoon Guards inBritain. The Radetzky March is their official regimental march. Ergo:it’s British music.Needless to say, there was the inevitable clapping and foot stompingby the audience. It turns out that this too has a long tradition. Whenit was first played in front of Austrian officers, they spontaneouslyclapped and stamped their feet. This tradition is kept alive today byaudience members around the world from town band concerts to theNew Year’s Concerts of the Vienna Philharmonic.Flute Street: If one were to hear the term “flute street,” one mightbe inclined to consult the town street guide to find its location. Avisit to Google could not find any street by that name in this area,but there is a fine flute ensemble in Toronto by that name. Initiallyformed by Nancy Nourse and Allan Pulker in 2013, as the residentensemble for Canada’s First National Flute Convention, the group hasestablished a special place in the musical life of Toronto. While musicaficionados are familiar with the concert flute and its baby brother,the piccolo, Flute Street has been introducing audiences to severalother members of the flute family. I had seen and heard alto flutes andbass flutes before, but Flute Street’s recent concert, “And the GiantBegan to Dance,” introduced me to the six-foot-tall contrabass flute.I not only saw two of these, but was introduced first hand to an evenbigger member of the family. Guest artist Peter Sheridan presented uswith the subcontrabass flute, which was taller than anyone present,Sheridan included.As for the concert, we were treated to a wide range of offerings fromsolos to works including the entire ensemble. My personal preferenceswere numbers featuring Sheridan on the bass flute and the contrabassflute. His warm tone and melodic phrasing on the bass flutedisplayed the potential of this instrument better than I had ever heard.While the subcontrabass flute did add an interesting bottom end to theensemble, it didn’t appeal to me as a melodic solo instrument exceptfor its novelty value. Sheridan informed us that he has just recentlyintroduced the ultimate low-register flute. I believe that it is calledthe hyperbass flute with a lowest frequency of 16 Hz. He admits thatthis is below the audible range of his wife and many other people, butgiven the right circumstances it can be felt physically if not heard.Newly unusual: Before leaving the topic of unusual musical instruments,I feel compelled to report on a recent radio program on thethewholenote.com May 1 - June 7, 2015 | 33

Volumes 21-24 (2015-2018)

Volume 24 Issue 8 - May 2019
Volume 24 Issue 7 - April 2019
Volume 24 Issue 6 - March 2019
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