In this issue: The Toronto Brazilian bateria beat goes on; TD Jazz in Yorkville is three years young; Murray Schafer's earliest Wilderness forays revisited; cellist/composer Cris Derksen's Maada'ookkii Songlines to close Luminato (and it's free!); our 15th annual Green Pages summer music guide; all this and more in our combined June/July/August issue now available in flipthrough format here and on stands starting Thursday May 30.
many languages and
many languages and cultures along the path. Look more closely into these six disparate acts of musical gifting and sharing, and you will come across one individual, Cris Derksen, at the heart of each of them. “My name is Cris Derksen, and I am a half-Cree, half- Mennonite electronic cellist and composer” KATHY CAMPBELL says Derksen, in the introduction to a five-minute video in the Banff Centre Spotlight series, designed to “explore the stories behind the artists who come to Banff Centre.” (Also appearing in the Derksen spotlight video is Eybler Quartet violist Patrick Jordan, but we’ll get back to that.) “I go back quite a long way in my association with Luminato,” Derksen tells me. “I moved to Toronto five and and a half years ago and started doing stuff in Derek Andrews’ world music concerts. And I played in Iftar that year at the Hearn [a 2016 Luminato show welcoming Syrian newcomers to the city]. But 2017, the first year that Josephine Ridge was involved, was when I started to work with them more intentionally.” “Did she reach out to you?” I ask. “Yes she saw me in a show I did with A Tribe Called Red and called me in for a meeting. And that year I did an hour as one part of Tributaries where I invited a bunch of my Indigenous female friends to each do a song and I arranged that and got the band together.” One of those singers in Tributaries was Tanya Tagaq; it’s a friendship going back in time to Derksen’s graduation (with a Bachelor of Music in Cello Performance degree) from University of British Columbia. “I was in Tanya’s band from 2007 to 2011,” Derksen says. “It was a great way to cut my teeth. I was so fortunate graduating with a gig like Tanya.” It was the start of a ride, performing and touring, that has taken Derksen across the globe, as well as coast to coast to coast in Canada, in the company of an extraordinary range of musicians and other collaborators. The sesquicentennial year, 2017, saw a significant spike in awareness of Indigenous performers and performance practice within the arts community, but, as I expressed it to Derksen, my own fear was that there would be a drop off when the special sesqui funding dried up. “But you’re not seeing that, are you?” Derksen responds. “There are too many strong people doing strong interesting work and there’s so much work to be done. We’re living in such an interesting timeline where we seem to be going backwards instead of forwards as far as racialized issues go, and as far as inequality goes. For me, reconciliation is between people, not working on the big level.” The February 19 Banff gathering arose at least in part from the dynamics of the sesquicentennial year. “Put it this way,” Derksen says, “Classical music is pretty good at having an Indigenous idea without the Indigenous performer. So there’s some steps to be made.” Convening the gathering came directly out of Derksen’s Banff residency, bringing together ten Indigenous classically trained musicians, among them composers Andrew Balfour and Ian Cusson, violist Melody McKiver and her mom, pianist-educator Beverly McKiver, and Jeremy Dutcher, with Derksen cheerfully but insistently moving the action along. Perhaps its most enduring outcome will be the joint manifesto created by the attendees and passed around among the attendees to be read out to the audience at the gathering. Its bottom line? Nothing about us without us. Soundstreams’ Fauxstalgia at the Drake Underground saw Derksen on familiar turf, performing a solo set for cello and looper, before laying down the groundwork for an evening-ending improvisation with the evening’s other performers, pianist, Darren Creech, performing artist/soprano Teiya Kasahara and contemporary harpist/ improviser, Grace Scheele. Cello and electronic looping as core performance practice started for Derksen “probably 18 years ago. My room-mate had a looping station and I borrowed it and then I kept it. It opened up my eyes to being able to create music on my own without hiring a band and it was also my first real foray into composing stuff.” Cris Derksen Trio, with dancer Nimkii Osawamick (left) and drummerJesse Baird (right) I observe to Derksen that the looper work that night seemed rhythmically effortless, making the technology almost invisible. “It’s clear that the thing is your friend,” I observe. “Yeah we’ve been hanging out for a while, so I don’t have to think about that as much anymore. I can just focus on the notes. The first loops are nailed down, I know what they will be; the melody is in my head and I can choose how to use it, to expand it, so it’s loose but formed. It’s all 100 percent in the moment though. I don’t have anything saved in the station, so everything is fully live.” Cello, sans looper, is also the heartbeat of the Cris Derksen-composed work, White Man’s Cattle, which opened and closed the Eybler Quartet’s Burdock Beethoven CD-release concert this past May 19; but Derksen was sitting in the audience, not playing it. The work premiered at Banff, where the Eyblers and Derksen put in the heavy lifting on its creation. It evokes the collision of cultures in Alberta’s history, via an interpolated, scratchy soundclip of an early 20th-century Alberta farmer, master of all he surveys, speaking about “his land.” It’s a layered, driving work, demanding of every ounce of the Eyblers’ astonishing bowmanship. “The hoofprints of cattle and bison in the dust are not so different,” Derksen says laconically to the audience when asked by Patrick Jordan to say a few words before the piece is repeated. As for Kiinilik in its upcoming June Berkeley Street Luminato remount, Derksen, who created the music for the piece, with be in the middle of things again. “I get the lovely musical job of underscoring. It’s one of the few theatre pieces I actually am happy to be in. Usually if I get a theatre contract I compose the music and pass it on. But this is a really beautiful story, and again truthful. We have taken it many places from its start at Buddies – Montreal, Iqaluit, Vancouver, Luminato. And we go to the Edinburgh International Festival next!” Maada’ookii Songlines, June 23, was only vaguely in the works when Josephine Ridge left Luminato, but the transition under new Luminato artistic director, Naomi Campbell, has been a smooth one. “It took a moment for us to find each other and talk and sort out what they wanted to do and what I could do with what they wanted to do,” Derksen says. “A bit different than looping so you don’t have to hire a band,” I remark. “With a cast of hundreds it’s definitely a different style,” Derksen says. “More notes on the page and throughlines, that kind of stuff. But we do have some interesting soloists and for the solo parts I am giving them a lot of free rein; they get the fun part improvising on top of moments.” Part of the description of the show on the Luminato website talks about “a noisy fury blaring out a cacophony of frustrations and dreams?” So I ask Derksen if it’s an angry work. The response is unhesitating: “No its not angry at all ... maada’ookii is an Ojibway word, I’m Cree but I chose to use an Ojibway word because we are on Anishinaabe territory … When Indigenous people meet there’s a feast, there’s gifting involved, so this word and this work’s meaning is she/ he shares, gifts. Angry it is not. Truthful it is.” As mentioned earlier, the gift of songlines is the ability to navigate hundreds or even thousands of miles, traversing many languages along the way. The choirs involved seem to epitomize this idea: Canadian Arabic Choir; Darbazi; Vesnivka; Coro San Marco; YIP’s Children’s Choir; the Bruised Years Choir (part of Workman Arts); Faith Chorale; and an Indigenous Hand Drum Choir. “Will it get crazy?” I ask. “There’s an underscore,” Derksen says. “They all have their parts but I expect there will be moments of chaotic!” “And you? Are you going to be sitting inside or outside it? “Oh I’m going to cello along.” With a laugh. You can find the entire proceedings of the Feb 19 Banff gathering at https://vimeo.com/317295761. David Perlman can be reached at publisher@thewholenote.com 16 | June | July | August2019 thewholenote.com
MUSIC AND DANCE Near to the Wild Heart: Impossibly Happy STUART BROOMER For over a decade, Susanna Hood has been developing projects that explore and develop her identity as dancer and singer, choreographer and composer, often incorporating other arts as well. There’s the edgy, Dora Award-winning solo dance She’s Gone Away and Shudder, her visceral interpretation of Francis Bacon paintings. In 2014 she combined singing and choreography in The Muted Note, settings of poems by P.K Page with her partner, composer and trombonist Scott Thomson. Her latest work, Impossibly Happy, is more ambitious still: she’s debuting as songwriter and bandleader in addition to roles as singer-dancer-choreographer with her Montreal-based company of dancers and musicians, Near to the Wild Heart. Setting poems by the 15th-century Zen master Ikkyū, Impossibly Happy combines art forms with a singular physical and emotional intensity. Ikkyū was no ordinary Zen master, but a monk whose poems explore and celebrate drunkenness and carnal adventures. For Hood, “Initially, it was the poetry itself that drew me; its simplicity and openness of form and the possibilities that leant to discovering my own musicality within. But once I started choosing and working with poems, it was the raw, unpretentious truths that I found in the words, unfiltered by conformity for appearances’ sake, that compelled me. That’s the aspect that made me curious to know more about this extraordinary person and particularly the paradoxes he seemed to live without apology. For example, how he/we contain the frictions between wisdom, grumpiness, sacredness and lust.” Hood’s conception of Ikkyū takes in dance, song and poetry, exploring him as spirit presence, paradox and contradiction. The stage, containing both dancers and musicians, is alive with movement, sometimes resembling a battle, sometimes a kind of hypnotic anarchy, with dancers moving rapidly amongst the musicians or suddenly freezing into muscle-tensed, almost calligraphic forms. It’s made more precarious by Hood’s simultaneous embrace of choreography, composition and improvisation: “In all cases, I was looking for people who could balance working with both set forms and formmaking through improvisation. Along the way I’ve realized that how different people approach each of those demands is highly specific and subjective.” Hood’s dancers combine interests in improvisation and contemporary vernaculars: “Sovann Prom-Tep comes initially from breakdancing culture, and Lucy M. May has been dedicating a good part of her practice to Krump in the last three years. Both of these dance forms demand that one is always reinventing and developing one’s own dance within the form.” Assembling the musicians to realize her sometimes spiky melodies, Hood managed to achieve a distinctive sonic palette via the skilled improvising of drummer D. Alex Meeks with tubist Julie Houle and violist Jennifer Thiessen. Adding to the special skill set required, every member of the company is also called on to sing. Impossibly Happy is risk-taking, interdisciplinary work that seems to demand all the individual and collective resources that its performers might bring to it. As Hood remarks: “It was a huge learning curve for all of us.” As such, it’s a worthy embodiment of Ikkyū’s special vision. Near to the Wild Heart presents Impossibly Happy, June 20 at 8pm at Array Space, 155 Walnut Ave. Stuart Broomer writes frequently on music (mostly improvised) and is the author of Time and Anthony Braxton. His column “Ezz-thetics” appears regularly at pointofdeparture.org. thewholenote.com June | July | August2019| 17
What a range of stuff! A profile of Liz Upchurch, the COC ensemble studio's vocal mentor extraordinaire; a backgrounder on win-win faith/arts centre partnerships and ways of exploring the possibilities; an interview with St. Petersburg-based Eifman Ballet's Boris Eifman; Ana Sokolovic's violin concert Evta finally coming to town; a Love Letter to YouTube, and much more. Plus our 17th annual Canary Pages Choral directory if all you want to do is sing! sing! sing!
Arraymusic, the Music Gallery and Native Women in the Arts join for a mini-festival celebrating the work of composer, performer and installation artist Raven Chacon; Music and Health looks at the role of Healing Arts Ontario in supporting concerts in care facilities; Kingston-based composer Marjan Mozetich's life and work are celebrated in film; "Forest Bathing" recontextualizes Schumann, Shostakovich and Hindemith; in Judy Loman's hands, the harp can sing; Mahler's Resurrection bursts the bounds of symphonic form; Ed Bickert, guitar master remembered. All this and more in our April issue, now online in flip-through here, and on stands commencing Friday March 29.
Something Old, Something New! The Ide(a)s of March are Upon Us! Rob Harris's Rear View Mirror looks forward to a tonal revival; Tafelmusik expands their chronological envelope in two directions, Esprit makes wave after wave; Pax Christi's new oratorio by Barbara Croall catches the attention of our choral and new music columnists; and summer music education is our special focus, right when warm days are once again possible to imagine. All this and more in our March 2019 edition, available in flipthrough here, and on the stands starting Thursday Feb 28.
In this issue: A prize that brings lustre to its laureates (and a laureate who brings lustre to the prize); Edwin Huizinga on the journey of Opera Atelier's "The Angel Speaks" from Versailles to the ROM; Danny Driver on playing piano in the moment; Remembering Neil Crory (a different kind of genius)' Year of the Boar, Indigeneity and Opera; all this and more in Volume 24 #5. Online in flip through, HERE and on the stands commencing Thursday Jan 31.
When is a trumpet like a motorcycle in a dressage event? How many Brunhilde's does it take to change an Elektra? Just two of the many questions you've been dying to ask, to which you will find answers in a 24th annual combined December/January issue – in which our 11 beat columnists sift through what's on offer in the upcoming holiday month, and what they're already circling in their calendars for 2019. Oh, and features too: a klezmer violinist breathing new life into a very old film; two New Music festivals in January, 200 metres apart; a Music & Health story on the restorative powers of a grassroots exercise in collective music-making; even a good reason to go to Winnipeg in the dead of winter. All this and more in Vol 24 No 4, now available in flipthrough format here.
Reluctant arranger! National Ballet Orchestra percussionist Kris Maddigan on creating the JUNO and BAFTA award-winning smash hit Cuphead video game soundtrack; Evergreen by name and by nature, quintessentially Canadian gamelan (Andrew Timar explains); violinist Angèle Dubeau on 20 years and 60 million streams; two children’s choirs where this month remembrance and living history must intersect. And much more, online in our kiosk now, and on the street commencing Thursday November 1.
Presenters, start your engines! With TIFF and "back-to-work" out of the way, the regular concert season rumbles to life, and, if our Editor's Opener can be trusted, "Seeking Synergies" seems to be the name of the game. Denise Williams' constantly evolving "Walk Together Children" touching down at the Toronto Centre for the Arts; the second annual Festival of Arabic Music and Arts expanding its range; a lesson in Jazz Survival with Steve Wallace; the 150 presenter and performer profiles in our 19th annual Blue Pages directory... this is an issue that is definitely more than the sum of its parts.
In this issue: The WholeNote's 7th Annual TIFF TIPS guide to festival films with musical clout; soprano Erin Wall in conversation with Art of Song columnist Lydia Perovic, about more than the art of song; a summer's worth of recordings reviewed; Toronto Chamber Choir at 50 (is a few close friends all it takes?); and much more, as the 2018/19 season gets under way.
PLANTING NOT PAVING! In this JUNE / JULY /AUGUST combined issue: Farewell interviews with TSO's Peter Oundjian and Stratford Summer Music's John Miller, along with "going places" chats with Luminato's Josephine Ridge, TD Jazz's Josh Grossman and Charm of Finches' Terry Lim. ) Plus a summer's worth of fruitful festival inquiry, in the city and on the road, in a feast of stories and our annual GREEN PAGES summer Directory.
In this issue: our sixteenth annual Choral Canary Pages; coverage of 21C, Estonian Music Week and the 3rd Toronto Bach Festival (three festivals that aren’t waiting for summer!); and features galore: “Final Finales” for Larry Beckwith’s Toronto Masque Theatre and for David Fallis as artistic director of Toronto Consort; four conductors on the challenges of choral conducting; operatic Hockey Noir; violinist Stephen Sitarski’s perspective on addressing depression; remembering bandleader, composer and saxophonist Paul Cram. These and other stories, in our May 2018 edition of the magazine.
In this issue: we talk with jazz pianist Thompson Egbo-Egbo about growing up in Toronto, building a musical career, and being adaptive to change; pianist Eve Egoyan prepares for her upcoming Luminato project and for the next stage in her long-term collaborative relationship with Spanish-German composer Maria de Alvear; jazz violinist Aline Homzy, halfway through preparing for a concert featuring standout women bandleaders, talks about social equity in the world of improvised music; and the local choral community celebrates the life and work of choral conductor Elmer Iseler, 20 years after his passing.
In this issue: Canadian Stage, Tapestry Opera and Vancouver Opera collaborate to take Gogol’s short story The Overcoat to the operatic stage; Montreal-based Sam Shalabi brings his ensemble Land of Kush, and his newest composition, to Toronto; Five Canadian composers, each with a different CBC connection, are nominated for JUNOs; and The WholeNote team presents its annual Summer Music Education Directory, a directory of summer music camps, programs and courses across the province and beyond.
In this issue: composer Nicole Lizée talks about her love for analogue equipment, and the music that “glitching” evokes; Richard Rose, artistic director at the Tarragon Theatre, gives us insights into their a rock-and-roll Hamlet, now entering production; Toronto prepares for a mini-revival of Schoenberg’s music, with three upcoming shows at New Music Concerts; and the local music theatre community remembers and celebrates the life and work of Mi’kmaq playwright and performer Cathy Elliott . These and other stories, in our double-issue December/January edition of the magazine.
In this issue: conversations (of one kind or another) galore! Daniela Nardi on taking the reins at "best-kept secret" venue, 918 Bathurst; composer Jeff Ryan on his "Afghanistan" Requiem for a Generation" partnership with war poet, Susan Steele; lutenist Ben Stein on seventeenth century jazz; collaborative pianist Philip Chiu on going solo; Barbara Hannigan on her upcoming Viennese "Second School" recital at Koerner; Tina Pearson on Pauline Oliveros; and as always a whole lot more!
In this issue: several local artists reflect on the memory of composer Claude Vivier, as they prepare to perform his music; Vancouver gets ready to host international festival ISCM World New Music Days, which is coming to Canada for the second time since its inception in 1923; one of the founders of Artword Artbar, one of Hamilton’s staple music venues, on the eve of the 5th annual Steel City Jazz Festival, muses on keeping urban music venues alive; and a conversation with pianist Benjamin Grosvenor, as he prepares for an ambitious recital in Toronto. These and other stories, in our October 2017 issue of the magazine.
In this issue: a look at why musicians experience stage fright, and how to combat it; an inside look at the second Kensington Market Jazz Festival, which zeros in on one of Toronto’s true ‘music villages’; an in-depth interview with Elisa Citterio, new music director of Tafelmusik Baroque Orchestra; and The WholeNote’s guide to TIFF, with suggestions for the 20 most musical films at this year’s festival. These and other stories, in our September 2017 issue of the magazine!
CBC Radio's Lost Horizon; Pinocchio as Po-Mo Operatic Poster Boy; Meet the Curators (Crow, Bernstein, Ridge); a Global Music Orchestra is born; and festivals, festivals, festivals in our 13th annual summer music Green Pages. All this and more in our three-month June-through August summer special issue, now available in flipthrough HERE and on the stands commencing Thursday June 1.
From science fact in "Integral Man: Music and the Movies," to science fiction in the editor's opener; from World Fiddle Day at the Aga Khan Museum to three Canadians at the Cliburn; from wanting to sashay across the 401 to Chamberfest in Montreal to exploring the Continuum of Jumblies Theatre's 20-year commitment to the Community Play (there's a pun in there somewhere!).
In this issue: Our podcast ramps up with interviews in March with fight director Jenny Parr, countertenor Daniel Taylor, and baritone Russell Braun; two views of composer John Beckwith at 90; how music’s connection to memory can assist with the care of patients with Alzheimer’s; musical celebrations in film and jazz, at National Canadian Film Day and Jazz Day; and a preview of Louis Riel, which opens this month at the COC. These and other stories, in our April 2017 issue of the magazine!
On our cover: Owen Pallett's musical palette on display at New Creations. Spring brings thoughts of summer music education! (It's never too late.). For Marc-Andre Hamelin the score is king. Ella at 100 has the tributes happening. All; this and more.
In this issue: an interview with composer/vocalist Jeremy Dutcher, on his upcoming debut album and unique compositional voice; a conversation with Boston Symphony hornist James Sommerville, as as the BSO gets ready to come to his hometown; Stuart Hamilton, fondly remembered; and an inside look at Hugh’s Room, as it enters a complicated chapter in the story of its life in the complex fabric of our musical city. These and other stories, as we celebrate the past and look forward to the rest of 2016/17, the first glimpses of 2017/18, and beyond!
In this issue: a conversation with pianist Stewart Goodyear, in advance of his upcoming show at Koerner Hall; a preview of the annual New Year’s phenomenon that is Bravissimo!/Salute to Vienna; an inside look at music performance in Toronto’s health-care centres; and a reflection on the incredible life and lasting influence of the late Pauline Oliveros. These and more, in a special December/January combined issue!
In this issue: David Jaeger and Alex Pauk’s most memorable R. Murray Schafer collabs, in this month’s installment of Jaeger’s CBC Radio Two: The Living Legacy; an interview with flutist Claire Chase, who brings new music and mindset to Toronto this month; an investigation into the strange coincidence of three simultaneous Mendelssohn Elijahs this Nov 5; and of course, our annual Blue Pages, a who’s who of southern Ontario’s live music scene- a community as prolific and multifaceted as ever. These and more, as we move full-force into the 2016/17 concert season- all aboard!
Music lover's TIFF (our fifth annual guide to the Toronto International Film Festival); Aix Marks the Spot (how Brexit could impact on operatic co-production); The Unstoppable Howard Cable (an affectionate memoir of a late chapter in the life of of a great Canadian arranger; Kensington Jazz Story (the newest kid on the festival block flexes its muscles). These stories and much more as we say a lingering goodbye to summer and turn to the task, for the 22nd season, of covering the live and recorded music that make Southern Ontario tick.
It's combined June/July/August summer issue time with, we hope, enough between the covers to keep you dipping into it all through the coming lazy, hazy days. From Jazz Vans racing round "The Island" delivering pop-up brass breakouts at the roadside, to Bach flute ambushes strolling "The Grove, " to dozens of reasons to stay in the city. May yours be a summer where you find undiscovered musical treasures, and, better still, when, unexpectedly, the music finds you.
INSIDE: The Canaries Are Here! 116 choirs to choose from, so take the plunge! The Nylons hit the road after one last SING! Fling. Jazz writer Steve Wallace wonders "Watts Goode" rather than "what's new?" Paul Ennis has the musical picks of the HotDocs crop. David Jaeger's CBC Radio continues golden for a little while yet. Douglas McNabney is Music's Child. Leipzig meets Damascus in Alison Mackay's fertile imagination. And "C" is for KRONOS in Wende Bartley's koverage of the third annual 21C Festival. All this and as usual much much more. Enjoy.
From 30 camp profiles to spark thoughts of being your summer musical best, to testing LUDWIG as you while away the rest of so-called winter; from Scottish Opera and the Danish Midtvest, to a first Toronto recital appearance by violin superstar Maxim Vengerov; from musings on New Creations and new creation, to the boy who made a habit of crying Beowulf; it's a month of merry meetings and rousing recordings reviewed, all here to discover in The WholeNote.
2016 is off to a flying start! We chronicle the Artful Times of Andrew Burashko, the violistic versatility of Teng Li, the ageless ebullience of jazz pianist Gene DiNovi and the ninetieth birthday of trumpeter Johnny Cowell. Jaeger remembers Boulez; Waxman recalls Bley's influence, and Olds finds Bowie haunting Editor's Corner. Oh, and did we mention there's all that music? Hello (and goodbye) to the February blues, and here's to swinging through the musical vines of the Year of the Monkey.
What's a vinyl renaissance? What happens when Handel's Messiah runs afoul of the rumba rhythm setting on a (gasp!) Hammond organ? What work does Marc-Andre Hamelin say he would be content to have on every recital program he plays? What are Steve Wallace's favourite fifty Christmas recordings? Why is violinist Daniel Hope celebrating Yehudi Menuhin's 100th birthday at Koerner Hall January 28? Answers to all these questions (and a whole lot more) in the Dec/Jan issue of The WholeNote.
"Come" seems to be the verb that knits this month's issue together. Sondra Radvanovsky comes to Koerner, William Norris comes to Tafel as their new GM, opera comes to Canadian Stage; and (a long time coming!) Jane Bunnett's musicianship and mentorship are honoured with the Premier's award for excellence; plus David Jaeger's ongoing series on the golden years of CBC Radio Two, Andrew Timar on hybridity, a bumper crop of record reviews and much much more. Come on in!
Vol 21 No 2 is now available for your viewing pleasure, and it's a bumper crop, right at the harvest moon. First ever Canadian opera on the Four Seasons Centre main stage gets double coverage with Wende Bartley interviewing Pyramus and Thisbe composer Barbara Monk Feldman and Chris Hoile connecting with director Christopher Alden; Paul Ennis digs into the musical mind of pianist Benjamin Grosvenor, and pianist Eve Egoyan is "On the Record" in conversation with publisher David Perlman ahead of the Oct release concert for her tenth recording. And at the heart of it all the 16th edition of our annual BLUE PAGES directory of presenters profile the season now well and truly under way.
Paul Ennis's annual TIFF TIPS (27 festival films of potential particular musical interest); Wu Man, Yo-Yo Ma and Jeffrey Beecher on the Silk Road; David Jaeger on CBC Radio Music in the days it was committed to commissioning; the LISTENING ROOM continues to grow on line; DISCoveries is back, bigger than ever; and Mary Lou Fallis says Trinity-St. Paul's is Just the Spot (especially this coming Sept 25!).
