The Tradition Continues ….. COIG

Posted on 2016-02-19 by Rod Wilson

“The Highland Clearances were horrific events in Scottish history. In the 19^th Century Crofters were forcibly evicted from their homes in the Highlands of Scotland and those that survived starvation and death ended up scattered all over the world. “It was an ill wind that blew some good” and this “ill wind” was responsible for the Scots settling in Cape Breton. With the new settlers came all the elements of the Scottish Highland Culture. It included the Gaelic language, music, dancing and story telling and some say this transplantation of the culture is responsible for the very survival of the Scottish Fiddle tradition, not only in Canada, but in Scotland itself. By the time the CBC aired a TV show called “The Vanishing Cape Breton Fiddler” in 1971 the Cape Breton style of fiddling had been in existence for well over a hundred years. The CBC show lamented the decline of the tradition and predicted the inevitable demise of the Cape Breton fiddler. Boy, were they ever wrong with that conclusion. Within a few short years of the airing of the show the tradition became revitalized and went though a period of explosive growth. As well as a whole cadre of older and younger fiddlers, part of the positive change can be laid at the feet of at least two master fiddlers, Jerry Holland and Buddy MacMaster.” Both of these musicians have since passed away but their children, grand-children, students and disciples have continued to re-invigorated the tradition. COIG (Gaelic for Five) is part of that on going process. Originally this was a quintet formed to promote the Cape Breton Celtic Colours Festival. The original members were all basically Cape Bretoners who have grown up in the tradition and are thoroughly familiar with the traditional fiddle and piano music of the region. The original members were Chrissy Crowley (fiddle and viola), Rachel Davis (fiddle and viola), Jason Roach (keyboards), Darren McMullen (tenor banjo, bouzouki, mandolin, guitars, and Irish Whistle), and Colin Grant (fiddle). Coig performed as a quartet at the Key City without Colin so I am not sure if he is still part of the group.

It goes without saying this was a night of brilliant music with lots of foot stomping fiddle duets, tenor banjo, bouzouki and mandolin leads all backed by Jason’s thunderous Cape Breton piano. The band performed a selection of tune sets from their album Five. Tunes included Bad Day at the Beach, The Oak Tree Set, Choufflé Soufflé, SR (Strathspey/ Reel) Set and others. Rachel Davis sang Bob Dylan’s classic ballad Tomorrow is a Long Time and Dougie MacLean’s She Loves Me when I Try. On keyboard Jason Roach performed an extended solo set that included Sleepy Maggie. Here are some images from the evening.

Musical Notes (pun intended). Darren McMullen is a “highly sort after multi-instrumentalist, switching between, guitars, mandolin, bouzouki, banjo and whistle”. His arsenal of instruments is only restricted by travel requirements. In this instance he did not play guitar. For most of the audience that may, or may not have passed unnoticed….. when was the last time we have heard a musical ensemble that was not guitar based? Actually it was refreshing not hear a batch of guitars thumping away. After all there is more to music than three guitars and a thudding back beat. Without guitars and with the addition of bouzouki, banjo and mandolin the music had a whole different sonic ambience. On this trip his arsenal was restricted to just the Irish tenor banjo, mandolin and Irish bouzouki. There is only so much excess baggage that you can cram onto a plane. Darren plays a 19 fret Irish tenor banjo tuned GDAE played mandolin style with a pick. It requires a different musical approach to the usual Bluegrass and Clawhammer styles of banjo playing. This instrument is not necessarily a chordal instrument. Rather its strength is in single linear melody lines and leads. When played solo it does not have a pleasant sound. However, in ensemble situations its loud percussive notes adds rhythm and punch to melody lines. It is particularly effective when played in unison with other melody instruments such as fiddle and accordions. Darren also plays a Bruce Weber Irish Bouzouki. For those unfamiliar with the Irish bouzouki it is a mandolin styled instrument (“a mandolin on steroids”) that originally started out as the Greek Bouzouki before Irish musicians adopted it in the mid-1960s. Darren’s instrument is a custom built instrument designed to have a high tight sound that doesn’t conflict with the bass register of Jason’s Cape Breton style piano. Last but not least is his Mark Franzke Dog Boys custom built A- style mandolin.

This was a night of exciting Canadian Music and one that may be repeated in the future. There are already rumours that the band will be back. If so Coig is not to be missed.

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Here is a YouTube clip just to give us an after taste of the concert:

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Oh, What a Party……..”

Posted on 2016-02-12 by Rod Wilson

A fine way to kick the winter blues out the door is to have a party. The local band Hot Muck (Brian Morris – lead; Ryan Person – banjo and guitar; Rick Krewwnchuk – drums; Sean Downey – bass; Ally Blake – fiddle) was invited to open for the Ska / Reggae band Sweetleaf from Victoria. As well as being motivated by the will to have a good time there was the added notion that the funds raised would go to the installation of a stage in the Stage 64 performance area in Centre 64. From among the mirth, mayhem and fun times of the evening here are some snapshots of the musicians working up a sweat……

and the main event – SWEETLEAF

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“I think it’s time we stop, children, what’s that sound” – Buffalo Springfield

Posted on 2016-02-02 by Rod Wilson

Saturday January 30, 2016, 7:30 pm at Centre 64 in Kimberley: Noemi Kiss and Rita Deane – Voice and Classical Guitar

We live in an era of complete sensory overload so it is nice to stop, step back and listen to sounds that are entirely human scale. There are no Marshall stack amplifiers with three guitars and a thudding back beat here. No fifty member symphony orchestra going full blast. No bar room high level back ground noise. No overhead TV sports distractions. Just a duo of voice and classical guitar performing music from across the musical spectrum. And the best thing yet….. an intimate venue where you can actually hear the music. That just about describes the concert by Rita Deane (Classical Guitar) and Noemi Kiss (Soprano) on Saturday night at Centre 64 in Kimberley.

Both musicians currently reside in the West Kootenays. Rita was raised in Rossland and has been studying guitar and piano since the age of six. She went on to study in Cordoba (Spain) and Salzburg (Austria). Noemi was born in Hungry and studied in Budapest and London. Noemi now resides in Agenta (it’s a long way from the centers of Euopean music to the jungles of British Columbia). Both musicians are fully fledged professional musicians who mostly teach and perform in the West Kootenays. The Columbia Kootenay Cultural Alliance has made it possible for the duo to tour though out the East and West Kootenays and perform the following program.

To truly listen and appreciate this music, as in the words of the Buffalo Springfield song, one does have to stop. Then take a moment to re-calibrate one’s senses to actually hear the sounds. Once done, a different aural universe becomes evident. The old saying “less is more” is very true in this instance. The concert space literally filled with sounds that would be completely lost if the music was amplified. As you can see from the above program of love songs the music covered in this concert is a broad spectrum of styles. From the music of the Elizabethan Lutenist John Dowland, through the Classic Era music of Mauro Giulani and Fernando Sor; the modern Classical composers, Joaquin Rodrigo, Heirto Villa-lobos and Benjamin Britten, to some traditional Irish and Hungarian folk songs and onto some arrangements of Eva Cassidy, including Sting’s Fields of Gold.
My pick of the music performed would be the Villa-Lobos piece, the John Dowland song and Sting’s Fields of Gold and that maybe because they are my favourite composers. In addition to those particular pieces the Hungarian folk song Volt Nekem szeretom had a very special appeal to me for no other reason that it reminded me of the Agnes Baltsa 1985 album of Songs My Country Taught Me (a marvellous collection of Greek songs).

Here are some images from the Green Room (trying to keep warm)

Some images from the concert:

There was a third partner in the room – Rita’s magnificent William Laskin (“Grit”) Guitar with its distinctive arm rest bevel. That particular feature improves player comfort and has been adopted by a number of other luthiers. Rita has had the instrument for over 10 years and it was originally purchased at a price equivalent to that of motor vehicle. It is Rita’s baby and there is not a scratch or a bump on it. The standard features of a William Laskin classical guitar these days include Indian Rosewood back & sides, Sitka Spruce soundboard, Spanish Cedar neck (with Carbon Graphite reinforcement), Ebony fingerboard (w/ Ebony binding), Rosewood bridge w/ Ebony & Bone tie block, Ebony binding, Bone nut and saddle, Sloane tuners (bronze plate with ebony buttons). He offers enough non-standard features and custom options to please the most discerning musicians.

In a nutshell this was a “deliciously delicate” performance and I suggest that when they play again in Cranbrook next Saturday they should not be missed.

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Saturday February 6, 2016, 7:30 pm at the ROYAL ALEXANDRA HALL in Cranbrook: Noemi Kiss and Rita Deane – Voice and Classical Guitar

Synchronicity is a concept which holds that events are “meaningful coincidences” if they occur with no casual relationship yet seem to be meaningfully related (Wikipedia). Is that what this was? If so then bring on more of the same. The meaningful coincidences could be the musical collaboration of a Classical Guitarist from Nelson, BC and a magnificent Soprano from Hungry coming together in the acoustic environment of the Royal Alexandra Hall in Cranbrook. It was evident within minutes of the musicians entering the room that they were were enthralled by the acoustics. For the audience it was a chance to hear live music without any of the sonic distortion of added amplification. It was a real treat. I have been to a number of concerts in this hall and I have found that any artificial sound re-enforcement has had a negative impact on the music. For me there was only one drawback and and that was the natural prohibition on taking photos during the performance. The click of a camera shutter would have destroyed the musical ambience of the evening. I had to settle for some pre-concert shots during the sound check. I can live with that………………….. The program was a recap of the sold-out concert in Nelson and the follow up performances in Fernie and Kimberley with the added zest of a unique acoustic environment

Thanks must go to the Kootenay Cultural Alliance for making this very special performance possible.

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Paul Bley and Pierre Boulez – not really famous but …….

Posted on 2016-01-22 by Rod Wilson

There are entertainers who are just that – entertainers. There are entertainers who are musicians and musicians who are entertainers. Sometimes it is hard to tell exactly which is which. Then there there are musicians who are just that – musicians. Then again there are those musicians who go beyond the accepted artistic norms of their era and create their own categories. Two such musicians are the Canadian Jazz Pianist Paul Bley and the French modern classical composer Pierre Boulez. Both of these exemplary musicians passed away this month (January 2016).

Paul Bley, born November 10 1932, died January 3 2016

Paul Bley North Sea Jazz Festival in the Hague in 1990

Paul Bley is a Canadian Jazz Pianist born and raised in Montreal. He was essentially a child of the Be-bop era who performed with some of the jazz greats of the era (including Charlie Parker). He started studying violin at 5 and piano at 8, and as a teenager began playing piano professionally as Buzzy Bley. In 1949, as a senior in high school, he briefly took over Oscar Peterson’s job at the Alberta Lounge in downtown Montreal. Mr. Bley left for New York in 1950 to attend the Juilliard School of Music. During his early years there, he played with the saxophonists Lester Young and Ben Webster. Keeping a hand in his hometown jazz scene, he helped organize the Jazz Workshop, a musician-run organization in Montreal that set up out-of-town soloists with local rhythm sections; in February 1953 he booked Charlie Parker for a concert and accompanied him. That concert was recorded, one of his first extant recordings before his first album as a leader, made nine months later with a trio that included Charles Mingus on bass and Art Blakey on drums. Through the mid-’50s, he was an adept bebop player with a spare style.

As he matured he went further afield in his musical explorations to become involved in what became known as “free form jazz”. In my opinion, what set him apart from the frenzy and frantic performances of other “free form” artists was a more melodic and measured approach. During his time in New York playing with the saxophonists Albert Ayler and Sonny Rollins, he defined as well as anyone the blurry line between the scratchiness of free improvisation and the virtuosity of the jazz tradition. His solo performances are said to have had a significant impact on the extended solo performances of Keith Jarrett.

He often talked about being eager to get outside his own habits. In the 1981 documentary “Imagine the Sound” he professed not to practice or rehearse, out of what he called “a disdain for the known.” He did not stake his work on traditional notions of acceptability, or the approval of the listener. With that particular musical philosophy it is easy to see why he is not a household name even in his own country.

Paul Bley was appointed a member of the Order of Canada in 2008.

Although I don’t have an extensive collection of his music I do treasure and enjoy the recordings he made in 1961 (Fusion and Thesis) with the Jimmy Giuffre 3 (Jimmy Giuffre on Clarinet, Paul Bley on Piano and Steve Swallow on Double Bass). The albums were re-released as a double CD by ECM records in 1992. For that I am forever thankful. Another CD of interest is the 1993 duo recording he did with fellow Canadian, saxophonist Jane Bunnet called Double Time (released by Justin Time). Although Jane is better known for her extensive explorations of Cuban music the album shares some of the “spacey” textures of the Jimmy Giuffre 3. I am sure these albums are only the tip of the iceberg.

Here is an audio clip from the Jimmy Giuffre recordings and a clip of Paul Bley in an interview.

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Pierre Boulez, born 26 March 1925 , died 5 January 2016

Pierre Boulez

“Pierre Boulez, the French composer and conductor whose career spanned from the avant-garde post-World War II era to the computer age, has died, according to the French culture ministry. He was 90. Boulez famously challenged his peers and his audience to rethink their ideas of sound and harmony. In his music, Boulez often created rich and contrasting layers that were built on musical traditions from Asia and Africa, and on the 12-tone technique pioneered by Arnold Schoenberg — as in his 1955 work, Le Marteau sans maître (The Hammer Without a Master).”

To be honest I am more familiar with his reputation than with his music. Classical music of the 20th century was mostly overshadowed by the music of the Romantic Era and that made it extremely difficult for musicians and composers who tried to create a new vocabulary. Pierre Boulez was one of a number of musicians trying to create a “new music”. Among concert goers “the new music” tends to alienate audiences and it is only though the dedicated efforts of musicians like Pierre Boulez that the music moves forward and, possibly in time, develop a dedicated audience.

This short YouTube video of his most famous composition LE MARTEAU SANS MAITRE will give listeners some idea of the challenges they face when exploring the music of Pierre Boulez. This is not your typical symphonic fare.

https://www.youtube.com/watch?v=8EhBNEpTvlU

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These two musicians may not be well known and they played music that, by and large, most audience would chose to ignore. However, they have demonstrated that there is more to music than three guitars and a back beat.

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“Cat on a Hot Tin Roof” — Intense!!!!

Posted on 2016-01-19 by Rod Wilson

Family politics and sibling rivalry have been around since the beginning of time. All the way from royalty right down to the neighbour just across the street it is one of life’s constants. From Shakespeare’s King Lear to the play that is currently on the stage of the Studio/Stage Door in Cranbrook it is the raw source material of great literature. Once again Director Terry Miller and the Cranbrook Community Theatre have stepped up to the plate and this time they have taken on the monumental Cat on a Hot Tin Roof by Tennessee Williams. For this undertaking Terry has enlisted the following actors in the following roles:

Jennifer Inglis as Margaret
Sean Swinwood as Brick
Alexander Gilmour as Big Daddy
Nicola Kaufman as Big Mama
Brent Gill as Gooper
Nikole Spring as Mae
Galen Olstead /Bob McCue as Reverend Tooker
Peter Schalk as Doctor Baugh

This is a big three act play that, with intermissions runs for three hours. Set in the delta plantation home of Big Daddy Pollitt in the summer of 1955 it covers all the big themes – sibling rivalry, thwarted professional ambitions and dreams, alcoholism, greed, mendacity, sexual desire and sexual confusion, illness and death. You name it and it’s all in there. Here are some images from the dress rehearsal on Wednesday January 13, 2016 –

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Vocal Showcase

Posted on 2016-01-06 by Rod Wilson

Vocal Showcase

This concert at the Knox Presbyterian Church was a great opportunity see and hear what the young performers of the area have to offer. This is possibly the finest small performance venue in the area and one likely to show off their talents to best advantage. All of these performers have been through the local education system and have come out the graduate end with an unbridled passion for making serious vocal music. Most, if not all, have gone onto post secondary education in music and a number have already obtain their degrees in music. So here they are: 412. The entire cast

and this is what they did on this special night in this special place.

Caitlin McCaughey – Caitlin is currently studying opera at the University of Toronto with 104. Catlin McCaughey Dr. Darryl Edwards and during this past summer she attended the Centre for Opera Studies in Italy. For this concert she performed Quando men vo from Giacomo Puccini’s opera La Boheme. For her second piece she chose Ah! Je Veaux vivre from Charles Gounod’s Romeo and Juliet. Caitlin plans to pursue a professional career in Opera.

Danielle Nicholson is a lyrical Mezzo-soprano who is 114. Danielle Nicholson currently completing her A.R.C.T. Performance Diploma with the Royal Conservatory of Music and is planning to begin her BMus in Vocal Performance at either UBC, University of Toronto or McGill. She chose Must the Winter Come So Soon from Samuel Barber’s Vanessa and Faites-lui-mes aveux from Charles Gounod’s Faust.

Courtney Green is currently the head teacher 130. Courtney Green and choreographer at Stages School of Dancing in Golden. Her selections were Breathe from In the Heights by Lin-Manuel Miranda and Leonard Bertein’s Glitter and be Gay from Candide.

Heather Byford. After graduating from Mount Baker 140. Heather Byford High School Heather attended the University of Lethbridge and obtained a Bachelor’s Degree in Classical Music with a major in Vocal Performance. She has returned to the East Kootenays with the intention of starting her own teaching studio. Heather selected La Mer est plus belle from the music by Claude Debussy and the poem by Paul Verlaine. Her second selection was Cruda Sorte! Gia so per practica from Giachino Rossini’s L’Italiana in Algeri.

Darren Adams is in his third and final year of the Acting for Stage and Screen Program 150. Darren Adams at Capilano University in Vancouver. Darren performed Try Me from Jerry Bock’s She Loves Me and Jason Robert Brown’s The Old Red Hills of Home from Parade. He was joined by Courtney Green for a duet performance of Jason Robert Brown’s I’d Give it all to You.

164. Darren and Courtney

Justin Swanson is a third year undergraduate at the McGill University Schulich School 180. Justin Swanson of Music. He has been studying for five years with aspirations of becoming an opera singer. He performed Francesco Paolo Tosti’s Ideale (lyrics by Carmelo Errico). He followed that up with a refreshing performance of the old war horse Mother Machree. He was joined on 202. Danielle and Justin stage by Danielle Nicholson for a duet performance of Come What May from the Baz Luhrmann’s movie Moulin Rouge.

The mezzo-soprano Amanda Weatherall is no stranger to performances in the Knox Presbyterian Church. She is 220. Amanda Weatherall a fourth year vocal performance major at Western University studying under Todd Wieczorek. She has participated in professional development programs offered by the Canadian Operatic Arts Academy and the Accademia Europea Dell’Opera and is looking forward to her first full operatic role, Trisbe, in La Cenerentola. For performance on this evening she chose Charles Gounod’s Que fais-tu, blanche tourterelle? and Alma Mahler’s Laue Sommernacht (lyrics by Gustav Falke).

Former Kimberley resident Clara MacLeod is happy to 240. Clara MacLeod back in the area and for her performance this evening she chose A Change in me from Alan Menken’s Beauty and the Beast and How Lovely to be a Woman from Charles Strauss’ Bye Bye Birdie.

Jocelyn Molnar received her Diploma of Music 260. Jocelyn Molnar from Capilano University in 2014 and has also received a significant number of awards and scholarships. For the evening’s performance she chose Frere! Voyez! du gai Soleil from Jules Massenet’s Werther and Ah, Love, but a Day written by Amy Marcy Beach. Amanda Weather and Caitlin McCaughey returned to the stage for a duet performance of Leo Delibes Sous le Dome epais from Lakme. Amanda sang the mezzo-soprano part and Caitlin the soprano part. As always, this was an extremely popular selection. And not be forgotten the accompanists for the evening were Arne Sahlen and Erica Ortlieb (Ross). Arne’s solo performances of We Three Kings and Beethoven’s second movement of the Pathetique were enjoyable instrumental interludes in a night of vocal music. 072. Erica and Arne

Here are some more images from the evening’s performances

118. Danielle Nicholson 116. Danielle Nicholson 112. Danielle Nicholson 134. Courtney Green 144. Heather Byford

070. erica Ortlieb (Ross) and Arne Sahlen 184. Justin Swanson 206. Danielle and Justin 160. Darren Adams 224. Amanda Weatherall 050. Elizabeth Ross MC 246. Clara Macleod

This was a wonderful night of music and the organizers should be very happy with the turn out. The venue was full to overflowing.

020. Xmas Candle

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What can you buy for ten bucks?

Posted on 2015-12-06 by Rod Wilson

WHAT CAN YOU BUY FOR TEN BUCKS? I GUESS IT DEPENDS ON WHO YOU ARE.

My wife is Scottish. I know, I know, in fact we all know the stories about the Scots ability to hang onto a dollar. But my wife is not like that. Because she has expensive tastes I don’t mean to imply that she is a spendthrift. But she is what I call “high expense – low maintenance” and she always has an eye for “a wee bargain”. Now my friend Doug Crawley, I don’t know if he is also “high expense – low maintenance”, you would have to ask his wife Beth about that. But I do know he has an eye for “a wee bargain” and he seems to have some incredible luck when it comes to musical instruments. There is the story of the e-bay bidding war for a Larrivee guitar. Then there is that beautiful mandolin, fully re-furbished, that he picked up for an unbelievably low price. Last, but not least, there is also the tale of the $10 purchase of a D09 Larrivee Dreadnought.

On a recent summer’s day he was on his way downtown to take in a concert in Rotary Park. It was a beautiful day so he had decided to walk rather than drive. On the way he passed one of those traditional yard sales. It didn’t particularly attract his attention until he spotted a guy walking out of the yard with a guitar. So just on the off chance he wandered into the yard just to check on what inventory maybe left. There it was. A Larrivee guitar that looked like it had been in a train wreck. It was broken, battered, and bruised with lots of major splits in the top and sides. It looked like it was beyond redemption. Also, on the off chance, he offered the owner $10 and, lo’ and behold he became the new owner of a piece of what he thought was un-redeemable junk. Doug and his wife Beth already owned a number of Larrivees and he thought that perhaps there might be something worth redeeming in the mess.

When he got back home he did an internet search on the serial number and discovered it was a D09 Dreadnought guitar, rosewood back and sides with a solid spruce top, probably built in Vancouver around 1994. The current list price of that same model today is over $3,000. What to do? It may have been worth that amount when it was new but in its present condition it was far cry from anything like that value. Or so he thought. He took it to the local Luthier Jamie Wiens to determine what were the possibilities. Given the make and model of the instrument Jamie felt that he could restore the instrument. It would not be one of his top priorities but he could fit it in with his bread and butter custom work. The project presented a substantial technical challenge that intrigued him. It was somewhat akin to putting humpty dumpty back together again. It would require a lot of custom improvisation to get the job done. Just getting the neck off the fractured instrument would require some ingenious tinkering that required building a device to generate steam and direct it to neck joint to loosen the glue.

At the end of the day Jamie rehabilitated the instrument and here is the list of what was required……..

Steam off the neck.
Glue neck, block and clamp.
Align and glue the large crack in the treble side.
Align and glue the large crack in the bass side.
Glue, clamp and splint the X brace.
Glue and clamp the cracks in the top.
Two rosewood re-enforcement patches and glue to the bass side.
Clean up the glue residue.
Buff and clean the body.
Fix the crack in the finger board.
Scrape and clean the binding.
Level and dress the frets.
Supply and install a Taylor end-plug, pin, and strap pin.
Install new light gauge strings.
Remove old pick-guard.
Install a new faux tortoise shell pick guard.
Install new saddle.
Supply old ebony bridge pins.

So here we have Humpty Dumpty back together again sounding beautiful, looking stunning and very comfortable to play. I defy anybody to be able to find the original cracks in the rosewood back and sides.

So this is what ten bucks (plus rehabilitation costs) can buy you in this day and age – a beautiful D09 Larrivee Dreadnought Guitar, as new, with a current value somewhere around $3,000. Only Doug Crawley could be that lucky.

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A Steal of a Deal – TAFELMUSIK

Posted on 2015-12-01 by Rod Wilson

Tafelmusik Baroque Orchestra: The Complete Sony Recordings. Originally released between 1989 and 1998, the recordings of the famed orchestra’s Baroque and Classical repertoire are all being issued together for the first time in a single Sony Classical box set of 47 CDs. The price of the set varied depending when and where it can be purchased. My purchase was through http://www.arkivmusic.com for $65 + exchange rate, shipping etc. It is also available from Amazon.ca for around $85+ taxes – shipping is free. That’s less than $2 a disc – a steal of a deal.

Tafelmusik? Who are they? As described in the liner notes of their recent Sony Boxed Set of recordings they are Canada’s award-winning period instrument orchestra that has become an internationally recognized ensemble. Lauded by Gramophone magazine “as one of the world’s top baroque orchestra’s.” Founded in 1979 by Kenneth Solway and Susan Graves, Tafelmusik Baroque Orchestra has flourished under the inspired leadership of Jeanne Lamon, who was the Music Director from 1981 to 2014. With its artist-focused mandate and commitment to excellence and innovation , Tafelmusik actively creates new context for the performance of baroque and classical music . The vitality of Tafelmusik’s vision clearly resonates with its audiences : the orchestra performs more than 50 concerts a year in Toronto for a passionate and dedicated following.

At the heart of the Tafelmusik Baroque Orchestra is a group of remarkably talented , enthusiastic and dynamic permanent members , each of whom is a specialist in historical practice. Their collaboration results in a delightful transparency , vitality and richness of sound , which has gathered acclaim around the world. The musicians participate on many levels , whether as core members, soloists, or contributors to exceptionally creative programming ideas that bring Tafelmusik concerts to life and make them fully relevent in a 21^st-century context. Tafelmusik has become a major force on the international scene, with a rigorous touring schedule that sees the orchestra on the road for seven to twelve weeks each year. Regular tours in Canada the United States and Europe are complemented by ambitious tours to more distant destinations such as Asia, Australia and New Zealand.

An integral part of Tafelmusik’s success has been its critically acclaimed discography of over 80 baroque and classical albums, which have garnered many national and international awards. Tafelmusik’s long and celebrated collaboration with Opera Atelier has helped establish Toronto as an important North American centre for baroque and classical opera performance. Tafelmusik has also invested much energy in supporting the next generation of period performers though its artist training programming.

From the BOX SET INSERT

Track List
DISC 1-2: Bach: Six Brandenburg Concertos, BWV 1046-1051
DISC 3: Bach: Concertos for Violin
DISC 4: W. F. Bach: Sinfonias, Suite and Concerto
DISC 5: Beethoven: Concerto for Piano and Orchestra No.2 in B-flat major, Op.19 and No.1 in C major, Op.15
DISC 6: Beethoven: Piano Concertos Nos. 3 & 4
DISC 7: Beethoven: Piano Concerto No. 5 in E-flat, Op. 73 “Emperor” & Violin Concerto in D Major, Op. 61
DISC 8: Biber: Harmonia Artificioso – Ariosa
DISC 9: Boccherini: Cellokonzerte / Sinfonien
DISC 10: Boccherini: Cello Concertos
DISC 11: Corelli: Concerti Grossi Op.6
DISC 12: Gazzaniga: Don Giovanni
DISC 13: Geminiani: Concerti Grossi
DISC 14-15: Gluck: Orfeo E Euridice
DISC 16: Gluck: Don Juan; Semiramis
DISC 17: Handel: Six Concerti Grossi
DISC 18: Handel: Music for the Royal Fireworks; Concerti a due cori
DISC 19: Handel: Water Music, Suite from Il Pastor Fido
DISC 20: Haydn: Symphonies Nos.41, 42 & 43
DISC 21: Haydn: Symphonies Nos.44, 51 & 52
DISC 22: Haydn: Symphonies Hob. I: 45, 46 & 47
DISC 23: Haydn: Symphonies Hob. I: 50, 64 & 65
DISC 24: Haydn: Paris Symphonies Hob. I: 82, 83 & 84
DISC 25: Haydn: Paris Symphonies Hob. I: 85, 86 & 87
DISC 26: Haydn: Symphonies Hob. I: 88, 89 & 90
DISC 27: Haydn: Paukenmesse; Salve Regina; Motetto “O coelitum beati”
DISC 28: Haydn: Missa Sancti Bernardi de Offida; Motets
DISC 29: Haydn: Theresa and Nelson Masses
DISC 30: Haydn: Missa “Sunt bona mixta malis”; Salve Regina; Ave Regina
DISC 31-32: Haydn: Die Schöpfung (The Creation)
DISC 33: Haydn/Kraft: Cellokonzerte
DISC 34-35: Mozart: 6 Symphonies after Serenades
DISC 36: Mozart: Overtures; Eine kleine Nachtmusik
DISC 37: Mozart: German Dances, K. 509; K. 536/567; K. 571; K. 586
DISC 38: Mozart: Rondo and Horn Concertos
DISC 39: Mozart: Requiem, K. 626
DISC 40: Purcell: Ayres for the Theatre
DISC 41: Schmelzer: Sonatas; Balletti Francesi; Ciaccona
DISC 42: Vivaldi: The Four Seasons; Sinfonia “Al Santo Sepolcro”; Concerto Op.3, No.10
DISC 43: Vivaldi: Concertos for Strings
DISC 44: Vivaldi Concerti
DISC 45: Zelenka: Missa Dei Filii/Litaniae Lauretanae
DISC 46: Stamitz, Richter, Haydn, Gluck: Flute Concertos

That is a lot of music. An even though I have had the collection for over six months I am still digesting its riches. Significant number of pieces are familiar (Bach’s Brandenberg Concertos, Haydn’s Symphonies and Cello Concertos, etc) but there is a significant number that are new to me. For instance, Heinrich Ignaz Franz Biber (1644-1704) Harmonia artificioso-ariosa is a wonderfully “wheezy piece” of baroque music that I really enjoy. If his name is unfamiliar to you check out his entry in Wikipedia. Because there is so much material in the collection it is a little unfair to pick out any particular recording for special mention. I am sure every listener will come to his or her own conclusion about their special choices. I can promise you that if the music of the baroque and classical eras are your special interest then this collection will not disappoint. The only down side is that at this price the collection undercuts even the most reasonably priced “live” concert.

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PS. For a lucky few, Jeanne Lamond performed with a small chamber group in Christ the Servant Church in Cranbrook some 10+ years ago.

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Four on the Floor – The Alan Brecker Quartet

Posted on 2015-11-26 by Rod Wilson

THE ALAN BRECKER QUARTET, Saturday November 21, 2015, 8pm at Stage 64 (Centre 64) in Kimberley. This was the last concert of the Fall Jazz and Blues Series.

This is what I call “Four on the floor straight ahead Jazz”. A solid rhythm section and one or two melody instruments, a copy of a Jazz Fake Book, pick a tune and let’s hit it , one and two, and three and four ….., and that was the name of the game on Saturday night with The Alan Brecker Quartet at Stage 64 in Kimberley. The solid rhythm section, Alan Brecker on piano, Stefano Valdo on electric Bass, Taylor Hornby on drums with the lead solo Tenor Sax of Pat Belliveau. There were added vocals by Alan and some magnificent melodic bass solos by Stefano on a huge 6-string bass that added variety to the sonic spectrum. These four session musicians from Calgary love to play jazz and the gig here in Kimberly gave them ample opportunity to delve into a selection of songs and tunes from the Jazz Fake Book. The Jazz Fake Book, for those who don’t know, is one of several published, copyright approved, collections of a huge number of jazz standards and songs from the American Song Book. It is almost a bible for improvising jazz musician. “Want to play some tunes? What have you got in the Fake Book that we could play?” That’s pretty well how an “off the cuff” session would play out. There are no elaborated arrangements, the tunes are usually presented as an abbreviated one or two page chart that notates the basic melody, chords and possibly some brief instructions about style and tempo. Nothing is set in stone and the musicians are free to make any number of musical choices in performing the piece. In doing so, some of the “off the cuff” choices can yield some adventurous and interesting musical moments. Case in point is the quartet’s rendition of the well known I Remember April. Who would have thought that this ballad had such potential as a hard driving Samba. Thier version would be right at home at a carnival in Rio. Alan has a thing for the songs of Jimmy Van Heusen and and during the evening he indulged his passion with more than one Van Heusen song. The standout, of course, was Here’s That Rainy Day (from the show Carnival in Flanders) with some brilliant mallet and brushes work by Tyler Hornby behind Stefano’s extended bass solo. Some other tunes that came off the pages of the Fake Book were Somewhere Over the Rainbow, How High the Moon and the Louis Armstrong classic What a Wonderful World. Another high light of the evening was Alan’s Stride/be-bop solo version of Summertime. Despite their popularity there are some tunes that just never wear out. Summertime is one of them.

Here are the images from a wonderful evening of “Four on the floor, straight ahead Jazz”

This was the last concert in the brilliant fall series organized by the “Alive at the Studio 64 Committee”. Many, many thanks from me and others I am sure. I for one am looking forward to what will be another brilliant Spring Concert series in the New Year.

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Music Behind the Green Door – Elizabeth Shepherd

Posted on 2015-11-21 by Rod Wilson

Elizabeth Shepherd Trio at the Green Door in Kimberley, Tuesday November 17, 2015, 8pm. The trio features the talents of Michael Occhipinti on guitar and Scott Kemp on acoustic fretless bass.

Elizabeth and a number of her band mates are on a cross Canada tour and perhaps the tour could have been named the “The Almost Famous Tour”. Between them, Michael Occhipinti and Elizabeth Shepherd, two of the finest musicians on the Canadian scene today, have scored 10 JUNO Nominations (Elizabeth – 2; Michael – 8). I guess that is as close as you can get without actually becoming famous. A small audience in The Green Door were very fortunate to hear the trio in a very intimate setting as the trio stopped off for a brief respite from the larger sites on the tour. In the press Elizabeth has been hailed as “a jazz virtuoso blessed with a pop sensibility”, ” praised by critics worldwide for her arrestingly original writing and soulful delivery. Along with artists like Esperanza Spalding, Robert Glasper, and Jose James she is seen as part of a wave of jazz musicians bringing the art form to a new generation of music fans”. That’s pretty high praise indeed. But that’s not all. Elizabeth has released four widely acclaimed records and toured extensively in North America, Europe, Japan and Mexico. She has sold out legendary clubs from Tokyo to Detroit, played major festivals like Montreal and North Sea Jazz Festivals, shared the stage with Victor Wooten, Branford Marsalis and Christian McBride, and opened for Jamie Cullum at The Hollywood Bowl. Elizabeth is also the only jazz vocalist to ever have been long listed for the Polaris Prize – Canada’s most prestigious music prize.

If you have ever spent any time listening to CBC radio and TV Michael Occhipinti will be a familiar name. Michael is a cross-cultural “dabler” with projects that have explored the music of John Lennon, Pink Floyd, Bruce Cockburn (Creation Dream) – and more recently the music of Sicily in Muorica. Michael has collaborated with many jazz musicians of note and in his spare time he is an educator at Humber College in Toronto.

Scott Kemp is nominally an upright Bass player originally out of Manitoba but now resident in Toronto. On this tour he is using an Ephiphone fretless Bass Guitar that he managed to pick up almost as gift on Craig’s list. The original owner felt that such a great instrument need to be played. It is easier to transport and more robust that an upright bass. It has taken it’s share of beatings on the road but is still holding together.

Like a lot of jazz influenced musicians and music today Elizabeth’s music is hard to define. She is a jazz singer but not in the classic senses of say Dianna Krall. She doesn’t dive too deeply into the “Great American Song Book” but rather delivers highly original material in a somewhat soul tinged timbre. Songs from her new album Signal include Willow, What’s Happening, BT Cotton, The Signal, Lion’s Den, This, Another Day, and Baby Steps.

Here are some more images from an intimate evening of Jazz behind The Green Door in Kimberley.

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