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Volume 8 Issue 7 - April 2003

  • Text
  • April
  • Toronto
  • Theatre
  • Jazz
  • Musical
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  • Glenn
  • Gould

the century, and now

the century, and now again I think they've become more and more relevant because our age is typically like that, that influence is coming from everywhere. All the popular musics, the ethnic musics, the whole tradition of Western music, there are collisions all' over the place. I really can't see any kind of a purist way of approaching music given the staggering array of various influences. STEENHUISEN: lWzen you 're referring to other music, you 're tapping into larger frameworks, of societies, belief systems, e(c. ls this associativeness important to you? . CRUMB: I think cine has to reinvent it. I must say that there are two ways of dealing with other music - let's say in this case with respect to traditional folk music. One of the ways that just about everybody does is by making arrangements of it, like Aaron Copland did, decorating it somewhat. The other way interests me much more, and that's the way Charles Ives did it. He completely absorbed - the way Bela Bartok did -the ethos of the folk idiom into his musical bloodstream. The spirit, the gem,Jine spirit of folk music, rather than just pitting it as some sort of genre/style that is easy to treat. In this way, I'm looking forward to seeing how people in Toronto might react to the folk song settings Unto the Hills, because I'm doing another one of those. I've almost finished one that is involved with . spirituals, and may even do a third set- (laMghing) i've become a composer of American songbooks STEENHUISEN: How did you work with the folk songs? CRUMB: These are treatments of tunes, it's not so literal-minded. People tell me that they came away from it knowing that it was still my own music, although I'm starting with materials that are borrowed. With this one, I really had in mind not a trained voice, but that particular genre of voice that one associates with folk music. It will be sung by my daughter, and she does that really well . . STEENHUISEN: , Do you wish that t~ listener would tap into the ListMe is a unique mailing list servicing Toronto's New Music organizations. It is for everyone who wants to be kept informed about the many New Music events and concerts in town. OS to join up to SO% discount from special promotional partners one FREE CONCERT with your registration gG?t on thG? list at ListmG~ca funding partners BfB

CRUMB: This is a frightening moment in history. I don't like the way things have developed. STEENHUISEN: What is the relation or can be the relation between music and politics? ·JAZZ NOTES by Jim Gal{oway April Fuel April is here and, with any luck, we are out of the deep freeze that CRUMB: Nonnally, it's not such · f a close relation. I don't think it has been the long wmter o our ever was. The modem thing called disconte?t. It is a big .month for showcasmg local talent m the clubs political music is a really very small item of effort on composers' parts. If you think of the past, is Beethoven's Eroica Symphony a politcal work? It had Napoleon's name on it to start with, but it became much more universal. It's almost absurd to think of Napoleon in connection with Eroica, becayse it's. a testamount that goes way beyond politcs. It applies to all ages. I guess Survivor from Warsaw of Schoenberg would be a modem example of a kind of political music. It's effective on a certain level I guess; but it diverges. It's just on the very edge of what music can accomplish. Music is more comfortable with very generalized themes. You make your reference in a program note or something, but the actual music can't become so terribly topical. It loses something. STEENHUISEN: Yet at the same time, psychically irseems to be part of the repertoire of influences that you 're working with. CRUMB: Oh yes, I agree that music will pick up resonances. In the contemporary world that is almost unavoidable - the tensions of a time, the aspirations of a time. Music maybe reflects the new astronomy in a sense. As for all the tension in the world right now, things go in cycles. Here we go again with what's really an unnecessary military adventure. · with Jake Langley, the Rob McConrtell Tentet, Don Thompson Quartet with featured guest, vocalist Norma Winstone and the Jean Beaudet Trio all appearing at the Top 0' The Senator. Meanwhile, over at The Montreal Bistro, Don Thompson, who seems to be the flavour of the month, can be found, followed by an array of home town talent including Graham Howes, Denny Christianson, Rob Piltch-Lorne Lofsky Duo, the Ian Bargh Trio, the Ted Quinlan Quintet and Gene DiNovi with Dave Young. Add to all of that · the consistently local programming at The Rex, which this month ranges from singer Melissa Stylianou to the John Cheesman Big Band via Chris Gale, Michael Occhipinti, the Botos Brothers and Club Django and you have some idea of the impressive depth of talent we have available in this city. There is, however, one significant visitor to town this month whose name c9mes to mind every time I am asked about my favourite saxophone players. On April 16 the great Phil Woods will be at Humber College giving a master class followed by an evening concert accompanied by a group Jed by Don Thompson. Not to be missed if you are a serious student of the jazz saxophone. This is also a month when there is an interesting ci:op of birthdays - Billie Holiday, Carmen McRae, Dave Snider Music Centre 3225 Yonge St. PH (416) 483-5825 e Ma il: s nidermusic@ snidermusic.com www.snidermusic.com Phil Woods Bessie Smith, Charles Mingus, Ella Fitzgerald, Lionel Hampton, Randy Weston and Gerry Mulligan to name only a few. It is an impressive list but there is one name to add that towers above even those. On the 29th of April we celebrate the birth in 1899 of Edward Kennedy "Duke" Ellington. No one has had a bigger impact on the world of popular music than he and never a day passes without his music being played. It seems only natural that he ,would engender appreciation groups - I suppose you might call them high class fan clubs - and fitting that one of the first of these Duke Ellington Societies was formed in his home town of Washington DC in 1959. It is also significant that in the · same year, the Toronto chapter of the Ellington Society was formed. COl'ITINUES Really good food that ~ just happens to Fn~ @ be vegetarian! flt' . Live jazz piano· playing on every Thursday night Hear the colour of • One of Toronto's Oldest Music Stores ... With The Best Selection of Pop, Jazz & Broadway Sheet Music in the city - For Begi1111ers and Profes~ionals - Come in and browse over 25,000 sheet music publications. We have a wide array of Woodwind, Brass, Keyboards, Guitars and Accessories. Music Lessons offered on site. www.thewholenote.com 655 Bay St. (enter off Elm} (416) 596-9364 toronto .com/ lecommens al We are a IO-minute walk frofll many theatres. Inquire about .00 parking for dinner & show.

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Volume 24 Issue 8 - May 2019
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