All I want for Xmas is a Jazz Club

With the demise of The Montreal Bistro and The Top O' The Senator, the only clubs that brought in touring artists on a regular basis, one has to wonder what is going on with live jazz in Toronto.
The Bistro and Senator would never have lasted as long as they did if not for their restaurant income. The writing was on the wall when the Senator Restaurant's business faded (just about the time Phantom at The Opera closed) and when the Montreal Bistro's lunchtime business fizzled (largely due to the closure of the recording studios in the neighbourhood - but that's another story). There were other factors: The SARS scare, the loss of the smoking crowd (and the lack of a replacement audience of non-smokers), and an audience that was getting older and drinking/spending less.
One recent attempt at a replacement for these cherished establishments turned into a debacle when the owners pulled the plug shortly after and left an A-list of Toronto jazz players scrambling to fill abruptly cancelled 3-night engagements (a rarity in what has become a city of one-nighters). Many had expanded their groups for the three-night run and some planned CD launches and special events at this upscale venue (situated above an even more upscale restaurant). The club owners, who had agreed to pay union scale but not to sign a union contract, dismissed a large segment of the jazz community with a curt phone message advising there was a "change of direction". To add insult to injury, they then turned around and hired different artists for less nights (and less money) thus creating some tense moments for those who went in to do the "replacement" gigs and an all-around bad taste on the Toronto jazz scene and a big black eye for the Sopra Upper Lounge. Musicians are no strangers to shabby treatment, but not usually in such elegant surroundings. Then again...
Vocalist Corry Sobol took a shot and set up a great venue (albeit small) on Markham Street and presented live music seven nights a week - a rather daunting programme, though she was never short of top players willing to play for the door. She had a nice stage with a real piano, a good PA, great music, but alas not enough of an audience to make it sustainable Corry's parting words: "I've had an amazing time over the last year and a half. The incredible pool of musical talent in our city has made for many stirring and beautiful evenings of live music, which will always stay with me... I'd like to thank each and every individual who helped in supporting our live music room." The Red Guitar will be re-incarnated as "The Central" and promises to continue presenting live music.
Broadcaster Rob Fogle comments, "The problem today is that new so called jazz clubs open regularly in the fair city of Toronto. They try having a jazz policy, see that after two or three weeks that they haven't filled their joints and bring in a DJ, play rock music, or have an improv show. These would-be authorities want "background music" so that their old fart regulars won't be disturbed at the bar while trying to get their teenyboppers to shack up. Today with hi-tech equipment, home is the place that many a fan would prefer to be. It's one of the few "listening places" still available."
But there's hope on the horizon.
A new room is opening and will be presenting Jazz on a regular basis. It's called Opal and is located at 472 Queen St. West. Sean Gray is the owner and he has engaged Sybil Walker, formerly with Top O' The Senator to do the programming and assist with the marketing. "The room to me feels like a New York supper club... quite intimate with great style" says Sybil. "It will be primarily jazz - as it stands now, Washington Savage will be performing on Tuesday and Wednesday and there will be scheduled entertainment Thursday Friday and Saturday mostly duos or trios both local and international artists."
When asked to comment on the current state of the Toronto club scene, Sybil replies "This question really resonates with me but not for the reasons one might expect. Clubs and restaurants close for lots of different reasons but it seems when jazz clubs close people expect it to be some overwhelming statement about the state of jazz. Twenty years (Bistro) 16 years (The Senator) is a good run for any club or restaurant and nothing to be ashamed of in any way. The Senator closed because it did not have the support of the dining room and the dining room could not continue to function with the loss of the business the theatre brought in for ten years. The Canon Theatre was without a decent running show for over five years and just as the restaurants in the neighbourhood of the Air Canada centre suffered when there was no hockey for one season we laboured through for years hanging on by our fingernails until we could no longer do it. I don't know what the circumstances were in the case of the Bistro but you can bet there were more problems than just the numbers of people coming out to listen. Of course there could always be greater turnouts but I believe it is a sustainable artform that should not be underestimated. When restaurants close it is not because people have stopped eating and when jazz clubs close it is not because people have stopped listening it is just time for someone else to step into the void and add a new and exciting energy to the mix."
Other folks appear to agree with Sybil's upbeat attitude. Many smaller venues are picking up the slack. Quotes Bar & Grill is a classy-but-casual ambience of this downtown hotspot at 220 King Street West, directly across from Roy Thomson Hall presents jazz from 5:00 to 8:00 p.m. every Friday. (coming up: Rick Wilkins, Jim Galloway, Laurie Bower backed by the Canadian Jazz Quartet). Ellington's on St. Clair has been presenting live jazz and a few other venues have been lurking "under the radar" but building a community of regulars.
In the East End, Dominion on Queen (500 Queen St. E) has begun presenting jazz and Ten Feet Tall is a new venue in the East End (1381 Danforth Avenue) that is presenting an exciting programme of Jazz Matinees on Sundays with Steve Koven, Tory Cassis and Amanda Martinez coming up. They are also the new home for Lisa Particelli's popular "Girl's Night Out" Singers' Jam every Wednesday night and have just announced a regular Monday Night of jazz with Stacey McGregor, Jim Heineman and Rick Donaldson.
The Rex has been starting to bring in some touring artists as well as their usual fare of non-stop quality jazz. The Pilot maintains it's long tradition of jazz matinees on Saturday and Sunday afternoons and now The Orbit Room is programming an Early Jazz and Dinner set on Tuesdays at 7 p.m. Uptown, the Halleluia Restaurant (Bathurst and Eglinton) has been presenting some great jazz as well as the long-standing Mezzetta (Wednesdays) and Trane (whenever) who continue to support live jazz and have built up a clientele over the years. But there still isn't a club stepping up to the plate to fill the shoes of our beloved Bistro or Senator. What will the new year bring? We have only to wait and see. Meanwhile any aspiring club owner would be well advised to go over the checklist provided by Downtown Jazz Artistic Director Jim Galloway in last month's Wholenote:
A simple guide for prospective owners of jazz clubs
1. Be prepared to commit to the music policy for several months.
Don't quit after two weeks!
2. Ask for advice from knowledgeable people in the business.
Get some input from recognised people in the jazz scene.
3. Listen to the advice.
4. Be consistent with your musical policy.
Changing horses in mid-stream may mean you take a bath.
5. Promote what you are selling. There is no point in presenting music and then not telling anyone about it. You wouldn't hire Sonny Rollins and keep it a secret.
6. Don't do it if you don't like jazz! There are no guarantees. At the end of the day, you might still lose money!
(Musician Bill McBirnie added the following advice from the musician's perspective: "Treat the musicians with some respect...and engage in your dealings with them in a business-like manner...because this IS a business! As one simple example, don't start playing "hard to get" on the matter of TMA contracts...You wouldn't do this with the tradespeople who renovated the room...or the supplier of the piano!...So why would you do this with the musicians...who are offering you a PROFESSIONAL service?!..."
- Brian Blain

Jazz Notes

THE MOST AMAZING JAZZ RAFFLE EVER!
Here's your chance to win Roundtrip tickets for two to Hong Kong via Cathay Pacific Airways* + $500 cash, TDJ 20th Anniversary Matching His and Hers Movado Watches, An evening with Jim Galloway at Chinchilla Lounge, Jazz CD Library (20 CDs), an HMV Shopping Spree, Toronto Downtown Jazz Wardrobe (Zip-up jacket, t-shirt, ball cap, tote bag and water bottle). The total value of the prizes is $9,890.00. Tickets are $5 each. Winning tickets will be drawn at the offices of Toronto Downtown Jazz at 82 Bleecker Street, Toronto on Friday, January 19, 2007 at noon. All winners will be notified by mail with complete instructions on how to redeem. For complete rules and details, visit the website at www.torontojazz.com

Salome Bey receives Order of Canada
Vocalist, songwriter, and actress Salome Bey was presented the insignia of Honorary Member of the Order of Canada by Governor General Michaelle Jean at a private ceremony held in Toronto. The honour comes in recognition of Ms. Bey's significant contributions to the arts for over four decades. Salome Bey was born in Newark, NJ, in 1939, and began her career singing with brother Andy and sister Geraldine (Andy & the Bey Sisters) from 1957-66. Moving to Toronto in 1966, Bey performed in nightclubs and received wide radio airplay for her jazz, blues & spiritual offerings, as well as making several television appearances. She also built a long list of musical theatre credits including multiple leading roles, receiving an Obie award in 1972 for her performance in the New York production of Justine (renamed Love Me, Love My Children). Bey wrote and starred in Indigo, a history of the blues seen live in the late 70's and early 80's in Toronto, as well as a 1984 CBC televised version. Her revues include Shimmytime (about Ethel Waters) in 1983, and Madame Gertrude (about Ma Rainey) in 1985, and her children's musical, Rainboworld, was presented at the Young People's Theatre in 1988. Bey continues to perform concerts, often appearing with her daughters Tuku and Saidah, known as "The Relatives". Her discography as leader includes LPs Salome Bey (1970), Songs from Dude (1972), and Jazz Canada Europe '79 (compiled from her appearances at the Bracknell, Northsea and Montreux jazz festivals). She also appears on LPs by the jazz pianist Horace Silver, and with the Montreal Jubilation Gospel Choir. In 1991 Bey received a Toronto Arts Award in the performing arts category.

A Jazz Calendar
The 'Faces of Jazz' 2007 Collectors Calendar is an elegant collection of 15 Classic Jazz Photographs, some never previously published, by five of Canada's leading photographers: David Deacon, the late Paul Hoeffler, Bill King, John Reeves, and Don Vickery, and lists the birthdays of over 700 jazz greats as well as historical jazz highlights. It's available from Jazz.fm <www.jazz.fm>

An Evening of Jazz
Join pianist Norman Amadio for "An Evening of Jazz" at St. Augustine of Canterbury Church, featuring Legendary Jazz Pianist Norman Amadio, Sax Jim Galloway, Bass Rosemary Galloway and Drums Don Vickery November 19 at 4:00 PM St. Augustine of Canterbury Church is located at 1847 Bayview (just North of Eglinton Ave.) Tickets are $20 Phone 416 248-4952

Remembering Hagood
To mark the upcoming tenth anniversary of his passing, a very special celebration will be held in remembrance of Hagood Hardy, a man loved and admired by many. Under the direction of Tom Szczesniak, an all-star cast will gather at the Lula Lounge to perform a selection of Hagood's compositions. The inimitable Nancy White will provide lighthearted reminiscences of life on the road with Hagood! Guests include Norman Amadio, Guido Basso, Barry Elmes, Kathryn Moses and many others. Proceeds from the door will be donated to the Hagood Hardy Protégé Award Fund under the auspices of the Minstrel Foundation. The Foundation provides opportunities for inner city youth to develop their musical talent. It's happening Monday, November 20 at the Lula Lounge, 1585 Dundas W. (showtime: 8:30)

The Champagne Symphony
Virtuoso jazz clarinetist (and multi-reed player), Bob De Angelis will be debuting his latest performing ensemble, "The Champagne Symphony Pops Orchestra" on December 31 at 2:00 PM & 7:00 PM at Roy Thomson Hall This special holiday presentation is called "The King of Swing" - a celebration of the music of the legendary swing-era clarinetist, Benny Goodman.
In the 1930's, the enormous breakout success of The Benny Goodman Orchestra heralded the birth of the "Swing Era", which was a unique time in our social and musical history, earmarked by the events leading up to World War II, domination of big bands on the radio airwaves, and the elevation of their leaders to the status of major pop stars. In 1938, Benny Goodman turned the world on its ear with a phenomenal performance at Carnegie Hall, that clearly established him as
"The King of Swing".
Audiences for these two performances will be entertained by this full-throttle symphony pops orchestra with a big band heart, augmented with lush vocals, stunning dancers and of course featuring the world-class clarinet of Bob De Angelis, arrangements and musical performance by the talented and renowned jazz trumpeter/composer/arranger, John MacLeod. Tickets are $37.50 - $95.00 Phone 416 872-4255

Brownman still 25?
On Sat Dec 2nd, Marron Matzado plays host to BROWNMAN's 25th Birthday Bash at the Lula Lounge. Brown, in the most Peter Pan vestiges of sheer denial has lost count of how many times he's turned 25 now, and are all forbidden to even mention it out loud. Regardless is his artificial hip and walker, we encourage all to come out on Dec 2nd and enjoy his youthful antics as his 10-man salsa crew returns to Lula Lounge after a long hiatus due to his frenetic touring schedule. Book your reservations via their website early, it's sure to be a packed night of birthday fun and salsa madness! http://www.Lula.ca

AfroCubans at Massey Hall
The Afro Cuban All Stars led by Juan De Marcos González brought a bit of Havana with them on November 4th at Massey Hall. The variety of musical elements avoided the pitfall of repetitiveness in style for this band that included 3 trumpeters, 1 tenor/baritone saxophonist, 2 trombonists, 3 percussionists and a piano player. 2 background singers also handled percussion gizmos. The styles of Cuban music included the chachachá, salsa, and the timba. An example of variation was a tune starting off with a duet between a saxophone and a violin. Throughout the programme, a number of singers or "soneros" graced the stage with their individual contribution to the songs. Even they demonstrated variety thanks to performances by a young female rap singer in her 20s and Ignacio 'Masacote' Carrillo, the 83 year-old Sonero who amazed the crowd with his youthful vitality and his dancing technique with a member of the audience on stage. The energy kicked up a notch after the intermission when the group added up audience participation with the eventual standing crowd getting into the rhythms as much as the Toronto crowd would allow itself. Brass musicians exhibited the most fun through their dancing and body language. They would acknowledge each other after finishing their respective solos. Finally, the encore kept the supportive audience attentive for another 20 minutes before calling it a night. (Alain Londes)

Winter 06 Releases

Emilie-Claire Barlow - Winter Wonderland
It is very gratifying as a reviewer to witness an artist's growth. Emilie-Claire Barlow has always been an excellent singer - one of the best in Canada - but where she is really coming into her own is in her arranging and producing skills. The arrangements, some including strings, on all of the ten tracks on Winter Wonderland have been handled masterfully by Ms. Barlow. The songs are familiar, mostly upbeat pop tunes - a few Christmas and the rest "winter" tunes that are commonly heard at Christmas. Jazzy phrasing and variety in the instrumentation make this a very pleasant listen.
On the title track we are treated to Reg Schwager on guitar deftly carrying the harmonic and rhythmic ball, and the sparse arrangement showcases Ms. Barlow's vocals beautifully. The other treat on this track and on "Christmas Time is Here" is the interplay between voice and sax, the latter courtesy of local luminary John Johnson. That ode to materialism, "Santa Baby" gets a cute, sexy treatment, and "Little Jack Frost" is a fun surprise, with its improvised vocal section in the middle, accompanied only by Keiran Overs' walking bass line. The standout track is "I've Got My Love to Keep Me Warm." The lush, dark string parts contrast strikingly with the bossa nova base.
The rest of the band, Nancy Walker on piano, Mark Kelso on drums and guitarist Rob Piltch, provide skilled, sensitive support. This holiday disc would be a fine addition to anyone's collection. www.emilieclairebarlow.com
(Cathy Riches - reprinted with permission from WholeNote magazine)

John Pizzarelli Dear Mr. Sinatra (Telarc Jazz)
John Pizzarelli who visited us this summer during the last day of the Toronto Jazz Festival finally paid homage to one of his heroes, Ol' Blue Eyes himself, Frank Sinatra. The "kid" from Hoboken, NJ always seemed to have top-notch orchestras in his shows. Pizzarelli, after hearing that he would be touring with the Clayton-Hamilton Orchestra, seized the opportunity to finally get his shot at recording a few classic Sinatra tunes such as "You Make Me Feel So Young," "Witchcraft," and "I've Got You Under My Skin." The result is an enjoyable and seamless transition to memorable tunes rearranged by John Clayton and others. It is also not a sing-a-long recording. John Pizzarelli who is equally comfortable in both big band and trio/quartet settings stays true to the songs and sticks to his true voice and his relaxed sense of rhythm. At times, the Clayton-Hamilton orchestra seems to dampen his voice a bit during some of the louder sections.
The lineup starts in full force with "Ring-A-Ding-Ding" and ends quietly with Tami Hendelman accompanying the singer on piano. On "Can't We Be Friends," John's father, Bucky Pizzarelli, is featured in homage to the late guitarist George Van Eps who played on Sinatra's recordings. The Quincy Jones' original arrangement for "In the Wee Small Hours (of the morning)" was originally destined for Sinatra and the Count Basie Orchestra but was never recorded. "Nice 'n Easy" written by Lew Spence and Alan & Marilyn Bergman, includes a new set of lyrics that were never recorded until now. With barely 40 minutes of playtime, Sinatra and Pizzarelli fans might have appreciated a few more songs.
Radio Deluxe with John Pizzarelli can be heard on Jazz FM on Sundays from 9am to 11am. (Alain Londes)

Steve Koven Trio Resurgence (Bungalow Records)
Steve Kovens latest CD Resurgence attests to his preferred trio format. Longtime collaborators Anthony Michelli on drums and Rob Clutton represent the two members of this easygoing recording. The brief Bogota Intro is 3/4 classical piano solo that introduces the melody to Bogota itself with the other members of the trio in a light Latin original. No Blues is very reminiscent of Milt Jacksons Bags Groove featured on Oscar Petersons classic Night Train recording. In fact, Koven would list Peterson as one of his inspirations. The Toronto pianist brings rhythmic complexities on the only standard track, Take the A Train with the drums adding the train sound effect. Raindrops reproduced by the urgent interplay of piano notes opens the title track before the rest of the trio sets in. The last of the ten-track recording represents the essence of Resurgence with Steve Kovens easy, fresh, and melodic style with his discreet yet solid band members. (Alain Londes)

Carol Welsman Whatcha got cookin? (Ludlow Music)
Internationally acclaimed and award winning vocalist and pianist, Carol Welsman has released an interesting project at the behest of key industry player, Pierre Cossette. He suggested that she take country songs and jazz them up. Recorded in Burbank, California with the collaboration of top-notch west coast musicians including Grammy-award winner Tom Scott on tenor, the result is an exciting collection of smooth songs with varying textures. Very little post-production tweaking was used in order to preserve that freshness and authenticity.
Through the jazz touch, some songs are clearly in the blues tradition. Its My Party has the blues feel. Welsman suggests that blues sometimes goes hand in hand with country. Such an affinity naturally led guitarist Grant Geissman to naturally try bottleneck slide guitar fills. Tom Scott who has an extensive recording portfolio contributes to a mild funkified version of Walkin After Midnight.
Our vocalist gives her personal touch to songs that spoke to her. Everybodys Talkin was one that played in her mind as she moved to California when you consider the timely lyric: Im going where the weather suits my clothes.
Always on my mind maintains that warm ballad made popular by Willie Nelson. Daddys little girl is one of the more emotional tunes on the project.
The talented Carol Welsman had the opportunity to write three songs for Ray Charles. He chose Out of my Life which was more of a pop tune. The one that Welsman felt had more of the Ray Charles feel, Baby Come Easy, is included on this recording.
A nice extra treat is the attached 60-minute DVD that brings viewers right into the recording environment for this CD. They have the chance to see what it is like when musicians discuss briefly if something works or needs some adjustment. As a result you dont just get an exact video replica of what is on the CD. The highly talented Welsman is very relaxed and her bubbly and fun but professional personality lends itself well in creating a genuine chemistry with the rest of the band for this project. (Alain Londes)

Wycliffe Gordon Cone's Coup (Criss Cross Jazz)
Few musicians focus on the trombone at an early age and maintain a certain sense of individuality as they mature professionally. Wycliffe "Cone" Gordon is one of those serious trombonists who should be part of those in such a category having had his interest peaked at the age of 12 following his brother. Examples of other contemporaries would include Slide Hampton, Robin Eubanks, and Steve Turre.
Wycliffe Gordon couches all the tunes between a fun, catchy and swinging minor blues vocal piece called simply "Shhh!!!" as the quintet draws our attention to the band. The lineup of Cone's Coup includes a collection of Gordon originals interspersed with a few standards such as "Just Friends" and "Stars Fell on Alabama." These standards have their own arrangements that remain true to the originals. For example, Kurt Weill/Ogden Nash well known "Speak Low" follows saxophonist Stacy Dillard's suggestion to stick to the original ballad format rather than the medium to up tempo rendition showcased by such luminaries as Coleman Hawkins in The Hawk Relaxes (OJC, 1961).
Reginald Veal's rubato solo introduces the Coltrane classic, "Mr. P.C." in honor of course of Paul Chambers. Wycliffe Gordon leads the energetic solos followed by Dillard and Riley with Johnny O'Neal keeping silent. The piano player provides sumptuous textures especially on the penultimate tune "Cruise Blues" that helps draw the show to a close with the quiet and expressive notes by the two front men. (Alain Londes)

Anthony Wilson Nonet Power Of Nine - (Groove Note Records)
Guitarist Anthony Wilson is whose young talents have offered him the opportunity to play with a number of other jazz artists within different configurations. The son of legendary composer/arranger/bandleader Gerald Wilson has already played with the likes of Bennie Wallace, Larry Goldings, Joe Henry, Harold Land, Chris Botti, and the Clayton-Hamilton Jazz Orchestra. He also joined Diana Krall in her Grammy-winning CD/DVD "Live In Paris" (Verve Records) and both have remained friends since. He has been a member of the Jazz Studies faculty at UCLA since 1998.
Wilson's recent CD Power Of Nine is a personal representation of his current work as well as his leniencies. The snappy "Make It Good" by Duke Pearson exemplifies his love of swing.
One highlight is the ballad "Looking Back" with the nostalgic lyrics sung by Diana Krall in a rarely heard style that reminds us of the whispery voice of Shirley Horn. This is a song that Jimmy Rowles, Krall's longtime teacher introduced to her years ago. Pianist Donald Vega demonstrates a very lyrical and fluid style on this track.
Embedded within the recording is a collection of "Quadras" which in Portuguese can mean city blocks as well as verses/quatrains. The result is a group of 4 quadras symbolizing Wilson's love of Brazilian music and contains repeated musical ideas enhanced through improvisation and metric/rhythmic/key modulations. Written in anticipation of a New Year holiday in Brazil, Quadra 3 and 4 and distinct Brazilian rhythmic and easy-going elements accompanied by Eva Scow's mandolin.
Those who are familiar with Gerald Wilson's work will definitely hear his influence on the energy and style of "Power Of Nine" showcasing the whole band in this fast piece. Dad and son have in fact performed together live as recently as this Summer.
The final piece is actually a hidden track in homage to Charlie Parker's return to L.A.'s Central Avenue with the swinging "Bird in a Basket."(Alain Londes)

These just in: Trumpeter Lina Allemano has put out her second release as leader, Lina Allemano Four: Pink Eye. It features Allemano with her dynamic group of Brodie West (alto sax), Andrew Downing (bass) and Nick Fraser (drums). The group is known for it's inventive, fresh sound and feel, while the leader, one of Canada's most recognized contemporary jazz artists, is known for her "quirky yet deeply lyrical songwriting style, her expressive flair, and a knack for the unexpected. Lina was winner of the 2005 National Jazz Awards' CBC Galaxie Rising Star and she was nominated for the 2005 Canadian Independent Music Awards Favorite Jazz Artist and the 2005 National Jazz Awards Trumpeter of the Year. As well as fronting her groups Lina Allemano Four and the improvising group "N", Allemano is also a member of Tim Posgate's Jazzstory & Hornband and the Jane Fair / Rosemary Galloway Quintet. Lina appears on over 25 recordings including her own newly released CD. Lina was born and raised in Edmonton, Alberta and began playing professionally at the age of 15. She moved to Toronto in 1993 and has since performed with jazz greats including tuba-legend Howard Johnson, Don Byron, Dave Holland, Mike Murley, and Joe Lovano. She was recently invited to play with fellow Canadian Ingrid Jensen in Dave Douglas' Festival of New Trumpet Music in New York City.
Heather Bambrick has released her second CD, Those Were The Days. This one features what you would expect of Heather: top calibre musicians, outstanding material, and the phenomenal voice for which Heather has become known. The musicians joining Heather are some of the best in the Canadian and International Jazz scene, and include Juno-award winning pianist David Braid, bassist and co-producer Michael McClennan, drummer Anthony Michelli, Chase Sanborn on trumpet and flugelhorn. Special guests include multi-Juno award winner Mike Murley on saxophone, Ted Quinlan on guitar, and internationally renown pianist Fred Hersch.
Rosemary Galloway has released a great live recording...perhaps the last live recording you will hear from the venerable Montreal Bistro now that it's gone. The Rosemary Galloway Quartet Live at the Montreal Bistro showcases a stellar group with a fiery performance from Pat LaBarbera on sax and solid, tasty back-up from Terry Clarke on drums and Gary Williamson on piano. www.rosemarygolloway.com

Fall 06 Releases

Sound of Toronto Jazz
Jazz.FM91 has released its 30th Anniversary Sound of Jazz two-disc compilation with 20 performances from more than 100 musicians in joyous recollection of some of the most memorable live-to-air concerts recorded since CJRT-FM launched the series in 1976.
JAZZ.FM91 CEO Ross Porter, Executive Producer of the project said, CJRT-FM launched the series in 1976 with eight concerts featuring the finest home-grown players of the day broadcast live from the Ontario Science Centre, where the series was to continue and expand over the next 29 years until new and larger venues were added for the 2005-2006 30th anniversary season. This compilation is a mere echo of the jazz eloquence of the hundreds of outstandingly talented performers who have populated Sound of Toronto Jazz stages over the past three decades, and a preview of the enormous promise the future holds. The collection includes a 1977 performance by Nimmons n Nine Plus Six, legendary guitarist Ed Bickert in 1978, a 1979 performances by the Doug Riley Quartet and Rob McConnell and The Boss Brass, the Moe Koffman Quintet in 1985 and much more. Both Ed Bickert and Don Thompson appear on the CD five different times (Don on three different instruments). The CD is available across Canada at HMV and other leading record retailers

Kollage - At This Time
At This Time is a tribute to Art Blakey that Archie Alleyne presented with his group, Kollage, during a live taping at the Old Mill under the auspices of Jazz FM's "Sound of Toronto" jazz series. Though the term "jazz messengers" hovered around the collective that Blakey had put together before, it was only after Donald Byrd replaced Kenny Dorham as the main trumpeter that the group name "Art Blakey and the Jazz Messengers" was born. "At This Time" is also the first tune opening the set and setting the stage. Written by Byrd, it is a fast-paced piece that has the distinctive Blakey hard boppin' drum style. The simple melody quickly gives way to solos starting with Robi Botos on piano, Alexis Baro on trumpet, and Alleyne himself on drums before finishing the opener with the melody. The band slows things down with another tune by a Blakey alumnus, Horace Silver's "Lonely Woman" featuring trumpeter Alexis Baro and Robi Botos' rich melodic play whether on chords or in his solo. Kenny Drew's "Ad-Dis-Un" features key solos by Mei Kelly on trombone, and Doug Richardson on tenor sax. Baro's "Bloo-C-Groove" has a similar feel as "Hit the Road Jack" and curiously has almost the same pick up notes as the previous tune.
Louis Alter and Bob Russell's "Circus," was famously recorded by Art Blakey and the Jazz Messengers on Impulse!. Collectors of key Blue Note records will probably recall Benny Golson's "Are You Real" that was one of the cuts on Blakey's well-known release Moanin'. The key ballad on this recording is the standard Arlen and Koehler's "Ill Wind" and provides quiet and sophisticated eloquence to any evening. "Archie Meets Art" is Bill King's effort in a composition for Alleyne that has the distinctive Blakey rhythm.
No homage to the Messengers would be complete without saxophonist Wayne Shorter, a definite titan on the 60s editions of this group. The set closes with Shorter's happy "On the Ginza" named after a shopping area in Tokyo with the front musicians all taking turns at quick solos.
Archie Alleyne has managed to bring together top Toronto musicians in this tribute that will remind us of the impact that the legendary drummer had on hard bop as well as make us appreciate some of the ingredients making his bands truly top of the line. All we miss in the end is Blakey's "The Theme" to really close the show. (AL)

Hilario Durán and his Latin Jazz Big Band - From the Heart
As if Torontonians needed any additional aid to go along with a hot summer, a Latin touch always seems to enhance the experience even more like fine wine at a Niagara picnic. Hilario Durán brings that accompaniment with his full ranged latin jazz big band to From the Heart composed essentially of original pieces. Paquito D'Rivera who appeared recently at this year's Toronto Jazz Festival is a special guest together with Horacio "El Negro" Hernandez.
Since Jesus Chucho Valdes allowed Hilario to sub for him once in the Orquesta Cubana de Musica Moderna, it was only fitting to start off with the engaging and lively "Mambo Influenciado" encapsulating the full vigor of the band that sets you into the spirit right away. Valdes recorded the tune a few years ago in solo formation (Lucumi: Piano Solo, Digipack; 2004). Durán in fact dedicates this album to a number of Cuban conductors, musicians, arrangers who have all pushed him in his musical development.
The dancing "Habanera in Spain," mixes Latin salsa and Spanish elements with discreet solos from Duran himself on his melodic piano interplay, Alexis Baro on trumpet, Jeff King on tenor sax, and Rob Piltch on guitar. "Paq Man" features Paquito D'Rivera on clarinet on this easy salsa tune. Strings,that were actually recorded in Moscow, provide a romantic feel to "Angel Eyes" while not detracting from its essential Latin character while Dione Taylor quietly sings the lyrics. Afro-Cuban beats complement a few band "rumberos" in the "Rumba For Chano" brief interlude before tying into "Blem Blem Blem."
All in all, this recording presents a variety of orchestral pieces with a latin touch. (AL)

Mark Eisenman Quintet - Apparition
This CD, recorded in March of this year, is a showcase for the compositional skills of pianist Mark Eisenman, consisting of 9 originals performed by Mark's regular trio of Steve Wallace on bass and John Sumner on drums plus Pat LaBarbera on saxophones and John MacLeod, flugelhorn.
Apparition, and Parker 102, which open and close the programme, are based on the chord changes of two jazz standards, "You Stepped Out Of A Dream" and "Cherokee", and act as bookends to a varied and interesting selection of compositions ranging from boppish lines to ballad via a Horace Silver-ish "Fathom" . Everybody gets solo space and the principal soloists have feature numbers in this well rounded and beautifully executed CD. (JG)

RE-BOP The Savoy Remixes
These days everyoner is creating their own own remixes, also known as mashups, where two different genres are meshed together to create a coherent piece of music. In the culture of remixing sometimes its hard to tell where the creativity ended and the cutting and pasting began. Re-Bop has tried to do something different and have employed a wide range of producers that give the entire album an eclectic feel. The first name that stands out is Jazzy Jeff who does an amazing hip-hop rendition of "Night In Tunisia". Employing the power of a very minimal hip-hop beat he maintains the integrity of the song while making it danceable. Of course whats a remix album without some of the tracks given the house treatment? King Britt fills out Sarah Vaughns "Lover Man" with the standard 4/4 beat, but still retains the chill nuances of Dizzys horn. Dj Logic leans in the area of trip-hop for his remix of Red Norvos "Night And Day". With no vocals on his remix he fills in the gaps nicely with subtle vocal scratches and light drum fills. Savoy has done a nice job at employing a kaleidoscope of producers to fill out their project. The end result is a mixed bag of house, hip-hop, trip-hop and lounge styles which gives the listener a taste of the different flavours. A good listen for someone who is interested in a jazz remix album that respects the original tracks. (JB)
Reviews by Alain Londes, Jim Galloway & Joel Blain

Richard Underhill Moment in Time
Toronto alto-saxophonist, Richard Underhill, has recently released his second album Moment in Time just in time for Christmas. If you wanted to create a basket with a Toronto touch to it, this would be it based on the wonderful music and the song selection. Perrys Place will perhaps be the signature fast swingin tune that sets the context for the whole recording. Right off the bat, Underhill yields the first solo to the very talented Cuban born piano player, Luis Guerra who has played with Chucho Valdes sister, Mayra Caridad Valdés, and with the David Murray Latin Big Band. The other talented members forming the core of the band are the well-known tenorman Bob Brough, Craig Earle on bass, and Joe Poole on drums. This is a straigh tahead jazz album with certain nuances that still preserves the whole. Morse Code as the name suggests is fast tempo giving all the musicians on stage a workout. William Carn provides that extra ingredient on trombone to amplify Chasing the sun with an echo of that catchy swing beat from yesteryear. At the same time this is still a modern tune.
As an active musician, Richard Underhill is very visible in our local community. That connection translated itself into the albums title by recalling Torontos power outage day on August 13th, 2003. The event inspired the last song, Where were you when the lights went out? Residents and visitors to Kensington Market during the Summer would have heard the Kensington Horns led by Underhill perform a very catchy, lively street version of this tune with the help of a large assembly of musicians. The recorded version is very different due to its quieter latin start that gradually builds up. Underhill was able to seamlessly change the rhythms and incorporate at one point the percussive element by Samba Elegua.
The sound balance and quality are just right as demonstrated by, for example, parts where one can hear Underhill improvising and Guerra showcasing rhythmic and harmonic sensibilities simultaneously on Will of the people. Indeed jazz fans will be able to share many moments in time with this album. (AL)

Barry Romberg No Soap Opera: Random Access Part 4
No Soap Opera is noted Toronto drummer Barry Rombergs latest edition with the Random Access crew. The seven intense tracks contain complex rhythms enhanced by the addition of key instruments such as the violin played by Hugh Marsh, brass pipes on one song with Peter Lutek, and the cello with Monica Fedrigo. Other fine musicians include Kevin Turcotte on trumpet, Artie Roth on acoustic bass, Kelly Jefferson on saxophones, Geoff Young on guitars, Rich Brown on bass, Adrean Farrugia on keys and Greg Dedenus on fender Rhodes.
Each piece is presented as an homage to such personalities as Albert Einstein in Master of the Universe and Miles Davis to whom we could attribute this CD as a manifestation of Daviss electric forays of later years. A number of the pieces have this dreamy vibe permeating in the background that carries the other musicians into different rhythmic territories. Colorful sound effects such as, for example, the pizz baritone violin on One sock one shoe, contribute to this vibe. Some might detect a certain Weather Report influence on Additional Ornamentation. The opening track 3rd rock from the sun in homage to Coltrane provides ample opportunity for musicians through Luteks solemn sax play or Marshs violin, to improvise within their free space defined by musical textures that vary seamlessly within the piece. One moment you sense a particular groove and moments later you hear exotic echoes in the background. Her Majesties secret donut has clear allusions to Miles Davis Aura recording based on the feel of the song and all the sound effect enhancements. Not for the faint of heart. Barry Romberg and his Random Access will be very busy promoting this new release as well as recording new CDs and a DVD next year. (AL)

The Bill McBirnie Duo/Quartet Paco Paco
Torontos jazz and Latin flutist, Bill McBirnie, has a new CD, Paco Paco, named after a Bernie Senensky tune. The Quartet includes Senensky, Neil Swainson and John Sumner. The overall feel of this recording is very relaxed thanks to the smooth textures provided by the flute itself against the background of the rhythm section. Paco Paco is not your straightahead Latin album although you will find a few easy tunes with that flavor such as the Jobim classic O Grande Amor. McBirnie, a Coltrane fan, kicks things off with Like Sonny and later also includes straight-ahead standards such as Monks Hackensack and Mobleys This I Dig Of You. (AL)

Karin Plato The State of Bliss
Vancouver based singer Karin Platos 2003 release, The State of Bliss has finally made it to Toronto. (I guess it walked here...) And right off the bat Plato gets major bonus points for having the good sense to include one of the best male jazz vocalists working today as a guest, the sublime Denzal Sinclaire. Add to that Platos considerable talents as a vocalist and we have one excellent jazz disc. Platos voice is supple and refined and her effortless style allows us to feel were in the hands of a master. She brings innovative phrasing to standards like My Favourite Things, I Hear Music (duet with Sinclaire) and includes six originals, as well. Stellar musicianship is provided by Bill Coon, guitar, Bob Murphy and Lou Mastroianni and Ross Taggart, piano, Campbell Ryga, sax, Brad Turner, flugel, Ken Lister and Steve Holy, bass, and Dave Robbins and Tom Foster, drums. Whew! (CR)

Alex Pangman Live in Montreal
Alex Pangman has become somewhat of a vocal historian, what with her penchant for the music from the 20s and 30s. Her 3rd CD, Live in Montreal, continues in that vein. Pangman is a bright, lively singer and this is a fun disc with very few dark moments. She has enlisted a band full of like-minded musicians who bring authenticity to the tunes which prevents this from tipping over into the realm of novelty act: Ross Wooldridge, clarinet, and sax, Kevin Clark, Trumpet, Danny Douglas, trombone, Jesse Barksdale, guitar, Peter Hill, piano, Ka-Cheong Liu, bass and Chris Lamont, drums. Even if youre not a huge fan of music from that era, Pangmans sincerity and obvious affection for the material are infectious and youll soon find yourself looking for your ol dancing shoes. (CR)

Duncan Hopkins Quartet Red & Brassy
Red & Brassy is the new release by the Duncan Hopkins Quartet with the Canadian Staff Band. Hopkins is one of the brightest and busiest bass players in town and has put together a rather adventurous new project. They will be celebrating the release February 1 at the Montreal Bistro. It features his jazz quartet in a live setting, alongside a thirty piece brass band - The Canadian Staff Band. Available at http://www.duncanhopkins.com. (BB)

This Just In...
A few new releases came our way too late to pass along to our intrepid reviewers so its left to your (barely)managing editor to acknowledge a new release from the indomitable Jane Bunnett. Its called Radio Guantanimo (EMI). Its an exploration of the relatively obscure Changui music of Guantanimo Bay, the bluesy side of Cuban music and with guests like New Orleans Jumpin Johnnie Sansone and our own Kevin Breit who can play the hell out of the blues (or anything else you throw at him), it has some bluesy moments but it is mostly the Jane Bunnett we know and love, surrounded by jazz heavies Dewey Redman, Howard Johnson and, as always, some amazing Cuban players.
Set In Stone is the second release by Nehring/Koller & Braid - a beautiful tribute and an exploration of the music of Fred Stone, the legendary Canadian trumpet player, composer and educator. George Koller is a national treasure, stretching the boundaries of jazz and many other genres. Pianist David Braid won a Juno last year and Lorne Nehring is a drummer who is at home with a jazz band, a theatre pit orchestra or a symphony.
A new face on the jazz scene is a familiar one on TV's Shopping Channel. Rosanne Agasse's new release is called Home at Last, beautifully produced by Doug Riley with a mostly predictable set of standards but on stage she really cuts loose. Rosanne Agasse will not get lost in the vast ocean of female jazz vocalists.
Richard Whiteman's new release, All or Nothing At All, is a tasty, accessible set with some great playing from Whiteman and fine support from two young jazz upstarts Brandi Disterheft on bass and Sly Juhas on drums. Brandi in particular is making her mark in a town that has produced some of the best jazz bass players on the planet. Let's hope she sticks around for a while. Check out Cornerstone Records' catalogue for more fine titles that showcase the thriving jazz scene in Toronto
Lastly, here's a genuine Jazz Christmas album: Noel en Jazz from The Bernard Primeau Montreal Jazz Ensemble. If you ever felt the need to hear a way-out jazzed-up version of "Jingle Bells" or "White Christmas", this set by Montreal's most adventurous drummer should do the trick. (BB)

Eric Alexander and Vince Herring The Battle  Live at Smoke
Without a doubt, Eric Alexander is one of the most hardworking and serious young tenor saxophone players. To see him perform live is to witness technical fluency combined with some uptempo and hard boppin intensity. This live CD performed live at Smoke in New York is a good sampling as he is joined by the equally talented Vincent Herring on alto sax. The first track setting the stage for the whole session, Blues Up And Down, is the classic Boss Tenors stomping blues showcased by Gene Ammons and Sonny Stitt in 1961 for Verve, but with a few added harmonic curveballs. Since both Alexander and Herring play different instruments, the final exchanges between the two demonstrates their ability to feed of each other rather than to upstage the other. They do the same at an easy tempo on Wes Montgomerys Road Song with John Webber laying down the superb structure on bass and Mike LeDonne showcasing piano voicings that some have associated with to McCoy Tyner. Ritual Dance, a composition by the drummer in the crew, Carl Allen, lets Eric Alexander draw from his Coltrane influences by double timing on his solo and even throwing in a quick Mr P.C. reference. (AL)

Houston Person - All Soul
Named after a 60s tune by Curtis Lewis, Person had played All Soul years ago with gospel great, Johnny Hammond Smith. Houston Person, a tenor sax player in the tradition of Gene Ammons and Stanley Turrentine, brought in Eddie Allen on trumpet, Stan Hope on piano, Randy Johnston on guitar, Per-Ola Gadd on bass, and Chip White on drums to some soulful pieces with different textures. Right after the All Soul ballad, one jumps into Mobleys Bossa for baby. One also gets a rendition of the classic So What. True to his penchant for G blues soul music, Put It Right There lets Person as well as Johnson, Allen and Hope get down in an engaging funky groove. (AL)

Curtis Fuller - Keep It Simple
The legendary trombonist adds another addition in what has been a very rich career. He is joined by Javon Jackson on tenor sax, Doug Carn on piano, Rodney Jordan on bass and Fritz Wise on drums. Keep it simple is one of those albums that contains a collection of fresh rendition of Fullers tunes such as The Court, Maze, A la mode, and Arabia. It also has some wonderful gems as the quietly swinging Rodgers and Hart melody I didnt know what time it was led by Fuller with brief solos by the rest of the band. When you hear Western Sunrise written by Carn you immediately notice the easy rhythmic tempo and you might even imagine driving a car on the West coast simply because this tune is pleasantly easygoing with a feeling of space. Javon Jackson, who will be featured in January with his band at the IAJE convention, showcases an evocative ballad on his own composition Diane. Fuller, very prominent on his cd, let the rest of his band showcase its talent on those last two pieces. The set closes with Its you or no one by Styne and Cahn, a tune prominently played in the 60s by Dexter Gordon. (AL)

Wallace Roney - Mystikal
Mystikal connotates a certain mystique that sounds very much like the jazz-fusion era pushed by Miles Davis in some of his later works. This is no accident since Wallace Roney is a Davis mentee and is a vocal advocate of the genre. When promoting his previous album, Prototype, Roney shared that he sees his music as an extension of Nefertiti, A Love Supreme, Tony Williams Lifetime, Herbies sextet, and Miles last band. One of the musicians on this cd is pianist Geri Allen who has collaborated with her husband, Wallace Roney, on other projects. Mystikal is a very involved and profound exploration that fully leverages the talents of Wallaces younger brother, Antoine Roney, on the saxes and bass clarinet, Matt Garrison on acoustic and electric bass, Adam Holzman on synthesizers and Eric Allen on drums. We even have Val Jeanty providing turntable and vocal clips. The compositions are a combination of original tunes as well as fresh and modern adaptations of pieces such as Wayne Shorters Atlantis and the Temptations classic Just my Imagination. Hey Young World has an easygoing reggae feel to it. (AL)

Frank Morgan - Raising the Standard: Live at the Jazz Standard Vol.2
For someone who dislikes club performances, Frank Morgan generously lets us in on an intimate lineup at the Jazz Standard during one of the performances in 2003. This recording follows the comeback release City Nights following a long hiatus and a stroke. The high caliber rhythm section stars George Cables on piano, Curtis Lundy on bass, and Billy Hart on drums. Morgan showcases some modern bepop on old standards by combining quiet ballads such as Polka Dots and Moonbeams, In a Sentimental Mood, and Old Folks. Other favorites include Wayne Shorters Footprints and Nefertiti. Our alto saxophonist is very lyrical throughout but especially on Dont get around much anymore. George Cables Helens Song represents original material on this recording and has a very contemplative melody supported by the drummer and bassist. The catchy Bessies Blues by Coltrane is a fitting close to a wonderful evening. (AL)

More and more jazz DVDs are making their way onto the market and Downtown Jazz Artistic Director Jim Galloway highlights a couple of titles that caught his fancy.
Eagle Rock Entertainment has launched a series of jazz DVDs which are worthy of attention. Leading the pack is an excellent Duke Ellington compilation - Duke Ellington, A Concert of Sacred Music/ Love You Madly (EE 39100-9). If you have friends who are Duke Ellington devotees, this DVD would make an ideal gift. It has 1965 footage from Basin Street West, the Monterey Jazz Festival plus a performance of Ellingtons Sacred Music from Grace Cathedral.
The music is intercut with interviews by Ralph Gleason, mostly with Ellington, but also with the likes of Earl Hines and Dizzy Gillespie as well as some insightful comments by Harry Carney, considered by many, myself included, to have been the anchor of the band and who spent virtually his entire career with the Duke. But the Ellington interviews contain the real meat and we are given some fascinating glimpses of what made the man tick.
We also learn that Mood Indigo was composed while he was waiting for his mother to finish making dinner and that In My Solitude was written in twenty minutes standing outside a recording studio while waiting to get in, but that Sophisticated Lady took a month to complete because he could not resolve the bridge.
Fans of his music will be familiar with the Sacred Concert material. This performance in Grace Cathedral, San Francisco in September of 1965, is a bit ragged in some passages and the sound is less than perfect, but the magic is there and the added element of being able to see the performance as well as hear it certainly adds to the pleasure of this aspect of Ellington which became increasingly important in the later stages of his amazing career. Strongly recommended listening and viewing, and a great Christmas present. (JG)
Double Time Jazz Collection is a series of DVDs, each featuring two concerts.
Volume 1 (EE 39874-9) features Carmen McRae Live In Tokyo and The Manhattan Transfer Vocalese Live One of the great jazz singers was Carmen McRae. The material here is from a 1986 performance in Tokyo and throughout Ms. McRae gives an object lesson on how to do it the right way. Its a programme of great standards like I Concentrate On You, Yesterdays, a wonderful take on My Old Flame as well as some lesser-known songs such as Getting Some Fun Out Of Life, Upside Down and Nat King Coles Im An Errand Girl For Rhythm A 1986 performance by Manhattan Transfer who run the gamut from Four Brothers to Rays Rockhouse with, of course, a stop at Birdland along the way. An entertaining and at times highly choreographed show, but the real jazz on this DVD comes from the irreplaceable Carmen.
Volume Five of the series (EE 39078-9) is The Gadd Gang Digital Live and Roots Salute To The Saxophone. The Gadd Gang set, from a 1998 concert in Tokyo, is pretty much a showcase for guitarist Cornell Dupree and to a lesser extent Ronnie Cuber on baritone sax and is very heavily into an R and B mode with lots of backbeat from Mr. Gadd. Things Aint What They Used To Be sets the mood for a programme that includes I Cant Turn You Loose, Whiter Shade Of Pale and I Cant Stop Loving You.
Salute To The Saxophone features a quartet of heavy hitters - Arthur Blythe, Nathan Davis, Chico Freeman and Sam Rivers accompanied by Don Pullen on piano, Santi Debriano, bass and Idris Muhammad on drums and was taped in Taunton, Devon for HTV West in 1982. The horns only play together on the opening and closing numbers, Never Always by Freeman and Lester Leaps In, which serve as bookends for individual features on Parkers Mood, Body And Soul, After Dark and You Dont Know What Love Is. Everybody is on form and it is particulary interesting to see and hear Don Pullen. These are worthwhile DVDs and Eagle Rock Entertainment is to be commended for making them available. (JG)

- Reviews by Alain Londes, Jim Galloway, Cathy Riches
and Brian Blain

Reviews by Michael Clifton and Jim Galloway

Summer 06 Releases

Gene Krupa Plays Gerry Mulligan Arrangements - Verve MGVS 6008 (Recorded October 20,21,22, 1958, New York City)
This CD is an object lesson on how to write arrangements for big band jazz. They were originally done for the Gene Krupa band in 1946 by a newly arrived member of that band, the then 19 year old Gerry Mulligan. He was only on the band for about a year, but contributed about two dozen arrangements in that time. These are not the original recordings, but come from three sessions in October of 1958 conducted by Mulligan with his former leader on drums surrounded by a bevy of great players including Phil Woods, Ernie Royal, Kai Winding and Hank Jones, to mention only a few of the great players making up this dream band. The compositions range from Mulligans own Bird House to a stunningly beautiful arrangement of If You Were The Only Girl In The World and the youthful arrangers talents demonstrate a mature concept of the art while leaving plenty of room for solos - Phil Woods in particular is right at the top of his game. There is also more than a touch of humour in the writing which suggests a debt to Billy May and /or the Jimmie Lunceford band. This is one of an excellent series of re-issues and the executive producer, Canadian Ken Druker is to be congratulated for his contribution to this important aspect of the record business. (JG)
Ernest Dawkins' Chicago 12 Misconceptions Of A Delusion Shades Of A Charade (Dawk Music 04)
This incendiary live performance from Paris (2003) is Dawkins' musical tribute to the Chicago 7 Trial of 1968. Thirty-five years after that monumental event the saxophonist/leader has created a work of great passion that successfully reflects those turbulent times. The horn-heavy twelve-piece band enters spitting fire in cyclonic ensemble segments, accompanying a recitation that focuses on the racial injustices that provoked the incidents in Chicago those many years ago. The playing is stellar throughout, reflecting the edgy creativity of Chicago's post-modern jazz legacy. Later in the program things loosen-up emotionally as Dawkins gives-it-up for his stunning group. The content is heavy and so is the performance.www.chicagocreativeartsonline.com (MC)
Kahil El'Zabar's Ritual Trio Featuring Billy Bang Live At The River East Art Center (Delmark 566)
Violinist Billy Bang is an easy fit in this live performance from 2004. His intuitive sense is right in line with the the kind of spontaneous creation El'Zabar and company are noted for. Like all Ritual Trio performances this is a celebratory meeting of jazz improvisation and Afro-centric colours. Bassist Yosef Ben Isreal replaces the late Malachi Favors and saxophonist Ari Brown continues to display why he is one of Chicago's most favoured improvisors. At the centre of things is leader El'Zabar, setting it all up with his deep hand-drumming, kalimba and chanting. Bang weaves his way through the mixture with edgy sawing that heightens the excitement. www.delmark.com (MC)
Kye Marshall Trio Standard Time (Zephyr/Westwind Productions ZWP305)
Standard Time is Kye Marshall's first foray into the standards book. Previous recordings have featured spontaneous duo playing and original compositions also in duet. This quartet recording features the talents of Canadian jazz icon Don Thompson on bass and piano as well as Mark Duggan on percussion and guitarist Dan Ionescu. It's difficult to fathom why the cello is such a rarified solo voice in jazz. It's rich tone has rarely been heard as a solo voice, especially in a mainstream context. Marshall offers a diverse program ranging from breezy Brazilian to introspective ballads. Rhythmic support is nicely in tune with the leader's measured, sensitive interpretations. www.kyemarshall.com (MC)

Other Toronto artists with new releases include Swing Rosie, an Andrews Sisters inspired jazz trio who launched their debut CD "Sing Cool, Swing Hot at the Mod Club in July to a packed room.Swing Rosie continue to perform in and around Toronto, including shows at the REX Hotel Jazz and Blues Club.
Adi Braun will celebrate the release of The Rules of the Game with three nights at the Montreal Bistro, October 6, 7 and 8. For this project, she is reunited with musicians Doug Riley, Terry Clarke, Steve Wallace and featuring Perry White on Tenor Sax doing some classics like Honeysuckle Rose and I got it bad and that ain't good and contemporary gems like Gordon Lightfoot's Beautiful and Shirley Eikhard's "About last Night". In addition to her Toronto dates, Adi Braun will be performing in New York City, Ottawa and Richmond, BC, in the fall. Details of her tour and more information can be found at http://www.adibraun.com
Bent jazz quintet Drumheller have released a self-titled album. Drumheller are Eric Chenaux (guitar), Rob Clutton (bass), Nick Fraser (drums), Doug Tielli (trombone), and Brodie West (alto sax). Everybody composes and everybody improvises. Drumheller plays out of jazz. And there are family resemblances to be found (if youre looking for them) to other out-of-jazz milieus, whether they are (or have been) in Amsterdam, Empty Bottle Chicago, or Downtown New York. But this music could only be made in Toronto...http://www.rat-drifting.com/news.html
Lastly, Toronto jazz master Don Thompson has released a new album called "Ask Me Later" (CBC Records TRCD3013)
A sure-fire combination of Don Thompson - on vibes and piano - with Phil Dwyer on reeds, Jim Vivian, bass and Terry Clarke, drums, guaranteeing that the music will be of the highest order. It's a programme of DT originals, a couple of them based on standards,and they make for rewarding listening. I'll simply quote from a Jim Hall comment in the liner notes..."What a great record!" ...and he would know. (JG)

Reviews by Michael Clifton and Jim Galloway

Hart Wheeler December 22,1921 - June 10, 2005

Canadian jazz lost a unique voice on June 10th. with the passing of Hartland Wheeler. Anyone who knew him will attest to his enthusiasm, love of life and the music which was such an integral part of the man.
HART WHEELER was born in Toronto on December 22nd. 1921. From age 18 he was a professional musician, his main influences being clarinettist Benny Goodman and Ben Webster (tenor sax).
Early in his career he played in the big bands of Ellis McLintock, Mart Kenney and Art Hallman. He guested several times for TV/movie director Norman Jewison on his CBC TV series "The Denny Vaughn Show".
James P. Johnson, Sidney and Wilbur DeParis and Cab Calloway were among the famous names he appeared with and Hart was a part of the most famous jazz concert ever held in Toronto, the now legendary night on May 15th. 1953 at Massey Hall when Dizzy Gillespie and Charlie Parker headed up the band which also included Bud Powell, Max Roach and Charles Mingus. The first part of the evening featured a local big band and in the sax section was Hart Wheeler.
In more recent years Hart played in two other well-known known Canadian big bands, the Canadian Tribute To Glenn Miller, in which he not only played but coached and sang in the vocal quartet, the Fabulous Moonbeams and Jim Galloway's Wee Big Band. He impressed Ken Peplowski and in particular Clark Terry when they made guest appearances with The Wee Big Band.
There were no half measures with Hart. He approached everything with the same degree of enthusiasm, whether it was a Benny Goodman solo or posing someone for a photograph. He had a big broad tone on tenor and a very physical way of playing. No shrinking violet, he loved to hold centre stage and would encourage audiences to applaud his solos - which they did!
Photography was another of his passions and he had a substantial collection of mostly music-related photos from the 40s on. As with everything else he was meticulous about detail and approached the hobby with the passion he had for everything in his long and richly gifted life.
All who knew him will never forget him.

Remembering Canada Bill

"Bill would move his six-foot-odd frame over to the piano seat and go into his version of the song. At some point, he would stop and, holding a suspended harmonic cluster, turn to me with a 'How do you hear this, Oscar?', thus bringing me into the musical discussion." This quote is taken from the recently published autobiography "A Jazz Odyssey" by Jazz legend Oscar Peterson. Dr. Peterson is recalling his earliest visits to Toronto and fun times spent in "piano play-off sessions" with friend, Toronto born and bred pianist Bill Clifton. This may be the first introduction for many Jazz fans to Bill Clifton, but Jazz historians remember him as a great player who's harmonically-advanced style strongly influenced, amongst others, modern Jazz piano colossus, Bill Evans.
Bill Clifton was born in Toronto in 1916. He began his musical training at age eight under the guidance of George E. Boyce at the Toronto Conservatory. Bill experienced early success as a recitalist, tackling some of the most demanding pieces in the classical repertoire. In high school he was bitten by the dance-band bug and shifted his attention to the music of Duke Ellington and Fletcher Henderson. Early work with the Toronto-based bands of Rudy Spratt and Cliff McKay helped to forge his distinctive style . A brief period away from music followed as Bill attempted a career in business. A Toronto concert by Bunny Berigan featuring Joe Bushkin proved to be a pivotal experience, inspiring Clifton to concentrate on music exclusively.
Twenty-three and full of dreams, Bill moved to New York City. On his very first night in town he headed for the Waldorf Astoria to visit with fellow Toronto native, trombonist Murray McEachern, then performing at the venue with Glen Gray's Casa Loma Orchestra. McEachern secured his friend a spot playing some intermission piano and it was here that big band historian George T. Simon first heard Bill play. Simon liked what he heard and acted to secure the young pianist an audition with the Paul Whiteman Orchestra. Clifton became a heavily featured member of the Whiteman band and on extensive concert tours was introduced by the "King Of Jazz" as "Canada Bill". Stints with: Benny Goodman,(with whom Bill recorded the very first V-disc), Woody Herman, Ray Noble, Abe Lyman, Bud Freeman and Sonny Dunham followed. Bill also participated in what is considered the greatest V-disc session of them all, Midnight at V-disc. This was a 1944 session that included participants such as: Louis Armstrong, Jack Teagarden and Don Byas. Bill accompanies Teagarden in what is referred to as one of the trombonist's top performances ever.
Bill Clifton also spent several years as a studio musician working for the NBC and CBS networks. He was a regular on a radio show broadcast out of New York called "Piano Playhouse", that featured the most important pianists in the classical and Jazz fields. During his stint at CBS in the mid-forties he played on several sides with a young Frank Sinatra. In 1950 Bill recorded one of the very first long-playing records under his own leadership as part of the "Columbia Jazz Piano Moods" series that featured most of the greatest Jazz pianist of the time including: Art Tatum, and Erroll Garner. In the liner notes to these recently reissued recordings (Mosaic Records #199), Jazz piano historian Dick Katz is lavish in his praise for Clifton, referring to him as a great pianist and declaring him an early and important influence on Bill Evans.
Bill Clifton died in 1963 while performing on a cruise-ship gig. "Canada Bill" would be humbled to know the extent of his influence and reputation in the Jazz world today.
- Michael Clifton