This is an article of mostly personal recollections, thoughts of some friends no longer with us. But it’s not a column of obituaries. You can read them elsewhere. It’s just that the events of the past month have stirred up memories.

For example, I remember nights with Vic Dickenson when we would end up in his room after the gig. His favourite tipple was a scotch called Cutty Sark – not mine, but it took on a certain quality when sharing it with Vic who was for me the finest, most subtle and humorous of all the trombone players.

I learned so much from this gentle man. On the bandstand it was a music lesson just to stand beside him and listen, and after hours I marvelled at his knowledge of songs. “Do you know this one?” he would say and sing the verse and chorus to some lesser-known tune. He knew the lyrics to all of them and taught me that to interpret a ballad you should at least know what the lyric was saying. Only then could you really interpret the melody and “tell your story.” (There’s a wonderful anecdote about the tenor sax player Ben Webster, one of the greatest ballad players in all of jazz, who was unhappy with a chorus. When asked what was wrong, he said, “I forgot the words.”)

In these after-hours intimate times with Vic, if we emptied a bottle it was his habit to take the freshly opened replacement and pour the first few drops on the floor, saying, “For departed friends.” Well, in the past month alone I could have poured a fair amount of the golden liquid on my floor for four more departed friends.

John Norris, whose death was an enormous loss to the jazz world, was not a musician but was responsible for a huge legacy of writings and the recordings he produced for Sackville Records of which he was a founder/owner, making that label one of the most respected in the business. He dedicated his life to jazz and earned the love and respect of all the musicians whose life he touched. We travelled often together – to Europe, Britain, Australia and the United States – and became good friends over the 40-plus years that we knew each other.

Saxophonist/composer John Dankworth was not a close friend in the way that John Norris was, but we did share some enjoyable times together. One of my early recollections as a young bandleader in Glasgow was sharing the bandstand with my own group and the Johnny Dankworth Orchestra. The venue was Green’s Playhouse, a huge ballroom on Renfield Street with a sprung dance floor. To give some idea of its size, the hall was directly above the biggest cinema in Europe with seating for 4,368 patrons!

Over the years we saw each other on his visits to Toronto. Most recently, last May at the Norwich Jazz Party, I enjoyed some time with Johnny – now Sir John – who regaled us with stories at the dinner table and was still filled with love and enthusiasm for life and playing. On February 6 John died at age 82, having been ill since October. His last performance was at the Royal Festival Hall in London last December when, a trouper to the end, he played his saxophone from a wheelchair.

page 26 jake_hannaThe passing of Jake Hanna at age 78 in Los Angeles on February 13 of complications from a blood disease was another tremendous loss. He was one of the great drummers, equally at home in small groups and big bands, and one of the unforgettable characters in jazz. If Jake was behind the drums, one thing was sure – the band would swing. He began his professional career in Boston and by the late 50s was playing with Marion McPartland and Toshiko Akiyoshi, as well as in the big bands of Maynard Ferguson and Woody Herman.

I bought my first car in Toronto in 1964, a beat-up old NSU Prinz, and drove it to Burlington because Woody’s band was playing at the Brant Inn. There, for the first time I heard Jake Hanna in person, making that great band swing mightily. At the time, of course, I had no idea that we were to become close friends and that he would one day make an album with my big band.

After the stint with Woody Herman, Hanna was a regular on the Merv Griffin television show, and when the show moved to the West Coast, Jake was one of a handful of players who made the move with Griffin. That job lasted until 1975, after which he played with a variety of groups including Supersax and Count Basie, and occasionally co-led a group with Carl Fontana. In addition, he was a fixture at festivals and jazz parties.

In a room full of musicians he was always a centre of attraction, telling stories from a seemingly endless collection of memories and cracking jokes with a dry humour that would have us all in stitches. He was the master of the one-liner on stage and off: “So many drummers, so little time.” Not all of them were original, but somehow Jake took ownership of them. If Jake liked you it was for life; if he didn’t it was also a pretty permanent arrangement. He was straight ahead in the way he played drums and straight as a die in the way he lived life. It just won’t be the same without him.

Earlier the same day I lost another good friend in cornet player Tom Saunders who died at age 71. Tom’s idol was Wild Bill Davison, a firebrand player and one of the great hot horn players. It was through Wild Bill that I met Tom and it began a friendship that lasted more than 40 years. Following in Bill’s footsteps he was recognized as one of the finest cornetists in traditional jazz. Although influenced by Wild Bill, Tom had his own sound, played great lead, but could also take a ballad and make it a thing of beauty. Like Jake Hanna he also had a dry wit, entertaining audiences between numbers with jokes and amusing reminiscences. In fact he could have had a career as a stand-up comedian.

Tommy lived life to the full and we enjoyed many hours together. He had his faults, but always played hard, partied a lot – sometimes too much – and enjoyed life until it eventually caught up to him. We all loved him and those of us who were close to him also knew that under a gruff exterior he was a sensitive and caring man.

And what did Jake and Tom have in common? They were not only great players, they were great entertainers, who were immensely proud of their music, but never took themselves too seriously. They genuinely loved the music and always gave it their best shot. The world of jazz is diminished by the passing of these four great talents and my personal world has become smaller.

Jim Galloway is a saxophonist, band leader and the former artistic director of Toronto Downtown Jazz. He can be contacted at: jazz@thewholenote.com.

It’s been said that necessity is the mother of invention. If that is the case then the father of invention has to be that unforgiving adversary and necessary evil named Deadline.

Leonard Bernstein said, “To achieve great things, two things are needed; a plan, and not quite enough time.” And author Alyce P. Cornyn-Selby wrote, “A perfect method for adding drama to life is to wait until the deadline looms large.”


Please forgive my fascination with origins of words, but it led me to the following: perendinate (puh-REN-di-nayt) means to put off until the day after tomorrow. It is from the Latin perendinare (to defer until the day after tomorrow), from perendie (on the day after tomorrow), from dies (day). The word procrastinate is from Latin cras (tomorrow). So when you procrastinate, literally speaking, you are putting something off till tomorrow. In the words of Mark Twain “Never put off until tomorrow what you can do the day after tomorrow.” In other words, why procrastinate when you can perendinate?


P22I humbly plead guilty. Every issue of The WholeNote rolls around and I am faced with the inevitable deadline. Author Diana Scharf Hunt said, “Goals are dreams with deadlines.” And no less an authority than Samuel Johnson claimed that “A man may write at any time if he sets himself doggedly to it, for nothing excites a man to write but necessity.”

In other words, you can sit around waiting for inspiration which is another way of admitting that you are procrastinating – or is it perendinating? – but the surest way of actually getting something done is to have a deadline, and this ties in with inventor Thomas Alva Edison’s credo that “Success is 10 percent inspiration and 90 percent perspiration.” And as for inspiration, well, according to Cole Porter it was nothing more than a phone call from someone offering a job. Then, of course,  you sweat it out to meet the deadline.

One of my favourite deadline stories concerns the movie The Bridge On The River Kwai. The film was completed in December of 1957 and the producers wanted to submit it for that year’s Oscar Awards. The deadline for submissions was the end of the month, but the film did not yet have a musical score! Several composers were approached and they all turned it down saying that there wasn’t enough time to do the job. All except one, that is: British composer Malcolm Arnold agreed to take on the project and completed it in ten days! Not only that, he won an Oscar for the best musical score that year.


You Can Quote Me

Having included all these quotations reminded me that Quotes Bar and Grill, located across the street from the Roy Thomson Hall, is into another season of Friday jazz sessions. The club has a really good, intimate feel, and the jazz swings which is a given since the house band is the Canadian Jazz Quartet. Every week there’s a featured guest player, and the music is the thing from 5:00 to 8:00 pm. It’s the closest thing in town to an old-time New York jazz club like Jimmy Ryan’s or Condon’s.

Not far from Quotes is the Glenn Gould Studio, and this month there are three dates of interest to jazz fans. The Bad Plus will be there on the 6th followed by a couple of Canadian groups: the Ingrid Jensen Quintet on the 23rd, and Laila Biali, three evenings later.


Word Has It...


One of the great blessings of jazz is that the originators of the music were around when sound recording was in its infancy. We can hear what King Oliver sounded like, the young Louis Armstrong, or Bessie Smith – and we can listen to some
of these great innovators talk about their music. Jelly Roll Morton’s Library of Congress recorded interviews are a case in point. It’s akin to being able to listen to Bach or Beethoven talk about their lives and music. Over the years the art of the interview produced some highly skilled practitioners: Chris Albertson, Stanley Dance, Leonard Feather, Ralph J. Gleason, Nat Hentoff, Gene Lees, Dan Morgenstern, Studs Terkel and John S. Wilson.

All of the above are among the contributors to the recently published
Downbeat – The Great Jazz Interviews – A 75th Anniversary Anthology, from Hal Leonard Books. The book also includes contributions from a dazzling array of jazz musicians: Louis Armstrong, Duke Ellington, W. C. Handy, Jon Hendricks, Marian McPartland, Jelly Roll Morton and Wayne Shorter among them.

Despite comedian Martin Mull’s claim that “writing about music is like dancing about architecture,” this is a treasure trove of information, opinions and insight, documenting events from the great years of
Downbeat magazine. The feud between Jelly Roll Morton and W.C. Handy makes for fascinating reading, as does the discussion Don DeMichael has with John Coltrane and Eric Dolphy. But these are only a few of the gems, and only avid collectors who have back issues of the magazine would have access to the wealth of knowledge contained in this very welcome addition to anyone’s jazz library.

Let music help you to beat the February blues – and make some of it live jazz. Happy listening!


Jim Galloway is a saxophonist, band leader and former artistic director of Toronto Downtown Jazz. He can be contacted at: jazz@thewholenote.com.

 


23_scottI read recently that Britain’s most famous jazz club, Ronnie Scott’s, is celebrating its 50th anniversary this year. This got me to thinking that doing a piece about long-lasting jazz clubs would make a pleasant change from writing about Toronto-based clubs that seem to come and go like ripples in a stream.

That Toddlin’ Town

The Jazz Showcase in Chicago first opened its doors in 1947 and lasted 60 years in a variety of locations. The club is managed by Wayne Segal – but it was his father, Joe, who opened the original Jazz Showcase in the area of Chicago known as The Gold Coast in 1947. Over the years the club migrated between Lincoln Park, South Loop (in the Blackstone Hotel), River North at 59 West Grand, constantly falling victim to that all-too-common and sometimes fatal complaint, L and L, (landlords and leases). Extravagant rents eventually forced Segal to close the doors of the West Grand location on January 1, 2007. After a brief hiatus the club re-opened at Dearborn Station in June of 2008 and is going strong, at least at time of writing this article.

24a_green_mill Still in Chicago, Andy’s Jazz Club on Hubbard Ave. has been going for more than 30 years. Before its incarnation as a jazz club Andy’s was a grungy hangout where printers from the Chicago Tribune and Chicago Sun-Times would hang out. The first jazz sessions began in 1977, every Friday at noon. It was enough of a success that in 1978 Andy’s tried out “Jazz at Five.” It caught on and now they have jazz seven days a week at 5:00 and 9:00pm. The original owner was Andy Rizzuto. He purchased the red brick building and sold it in 1975 to a group of investors who decided to keep the original name. Soon after, one of the investors, Scott Chisholm took over Andy’s and has been the owner ever since.

But the grandfather of all the clubs in the Windy City has to be the Green Mill Cocktail Lounge on N. Broadway. The Green Mill opened in 1907 as Pop Morse’s Roadhouse and in its early days was a watering hole for mourners on their way to funerals at St. Boniface’s Cemetery. It became the Green Mill Gardens around 1910 when it changed ownership and a huge green windmill was installed on the roof. The inspiration for this was the famous Moulin Rouge in Paris, but the colour green was chosen so that it would not be confused with the red light districts in Chicago.

When prohibition arrived in 1920, the Green Mill was already established as the hottest place in town, and the singers who appeared at the club and went on to become famous included Helen Morgan, Anita O’Day, and Billie Holliday. In the mid-1920s the club was leased to Al Capone’s south side mob. Capone himself often enjoyed hanging out at the club, listening to the music and entertaining friends. Throughout the 1930s, ‘40s, and 50s, the Green Mill presented a  mix of swing, dance and jazz music – but in the 60s the neighbourhood started to go into decline and by the mid-70s business had really fallen off. But in 1986, present owner Dave Jemilo bought the Green Mill, restored it to its earlier décor and  today  the Mill still enjoys a reputation as a mainstay of the Chicago jazz scene. Over the years a wide range of entertainment was showcased in the club, but since 1942 there has been a steady diet of jazz and blues giving the Green Mill the distinction of being the oldest, continuously running club in the country.

Motown

24b_tatumIn May of 2009, Baker’s Lounge in Detroit celebrated its 75th anniversary as one of the oldest jazz venues and in fact  advertises itself as “The World’s Oldest Jazz Club.”  Baker’s did feature pianists beginning in late 1934 but didn’t become a major jazz club until the 1950s. Clarence Baker took over Baker’s Bar from his father Chris in 1939, the year when out-of-town pianists were brought in for the first time. Art Tatum played there frequently from 1948–1953 and the bandstand has a grand piano selected by him.

In recent times the club has gone through some rough times and was in danger of closing earlier this year, but so far it is still a survivor. The jazz community rallied, some artists co-operated by taking reduced fees and the music was cut back to presenting established performers on Wednesday, Friday and Saturday, with Sunday for student groups and Thursday as comedy night.

New York, New York

Max Gordon first opened the Village Vanguard in 1935 as a variety venue presenting sketch comedy and poetry, but there is an interesting history to the venue. In 1921 a developer built a pie-shaped building on Seventh Avenue South. This was prohibition time and there was a speakeasy in the basement, called the Golden Triangle. With the end of bootlegging the club closed and lay empty for a couple of years until the young Max discovered it. In his autobiography, Gordon explained that it met all his requirements: it was 200 feet away from a church or synagogue or school, had two washrooms, two exits and a rent that was less than $100 a month.

In the early days, jazz was only a small part of the programming, but the club switched to a full-time jazz policy in 1957. Since then a Who’s Who of jazz has appeared in the tiny venue. One of the things that has spread the name of this jazz temple is the number of jazz albums that have been recorded there: more than 150 have “Live at the Village Vanguard” proudly displayed on the cover! The decor is minimal and the service can vary, but it remains one of the leading jazz clubs in the world.

In the world of traditional jazz clubs, it is impossible to leave out Eddie Condon’s. Guitarist Condon, born in 1905, was one of the real characters of jazz, a lover of free-wheeling straight-ahead jazz. A native of Goodland, Indiana, he was instrumental in creating a new, hard driving type of “Chicago Dixieland Jazz.” In 1927 he moved to New York, worked with various groups and from 1937 to 1944, he worked nightly at a famous New York Jazz club called Nick’s. In 1945 the first “Eddie Condon’s” (on West 3rd Street in Greenwich Village) opened. In 1961, the club lost its lease to New York University, and relocated to the Hotel Sutton on East 56th Street, which was home until 1967. It was  relocated to West 54th Street until the wrecker’s ball claimed it in 1985, ending a 40-year history.

Condon was one of the great wits of jazz: for example,  when asked about bebop musicians he replied, “They flatten their fifths, we drink ours.”

Mass Jazz

Wally’s Café in Boston, Massachusetts, is among the oldest family owned and operated jazz clubs in existence. It was founded in 1947 by Mr. Joseph L. Walcott and Wally, as he was known, was the first African-American to own a nightclub in New England.

The original location on 428 Massachusetts Avenue moved across the street to 427 Massachusetts in 1979 and to this day features live music 365 days a year.

London Calling

Back to Ronnie Scott’s. Ronnie and fellow saxophonist Pete King opened the original club in London’s Soho on Gerrard Street. The aim was to provide a place where British jazz musicians could jam, and it developed a reputation for presenting the best of British modern jazz musicians. In November 1961 it was the first British venue to offer engagements to an American musician in a club setting. That first guest was Zoot Sims.

In 1965 the club moved to its present address on Frith Street where it has maintained its reputation as the leading jazz club in the country. Ronnie Scott died in 1996, aged 69 and nine years later, Pete King sold the business to Sally Greene, theatre impressario and, incidentally, owner of one of London’s great theatres, the Old Vic. After closing for a three-month facelift, it has continued to present some of the greatest names in jazz.

Ronnie Scott was  also another of the great jazz wits and told jokes, mostly the same ones, night after night from the stage of the club. A typical example is as follows: “We’ve got a sensational new group playing at the club for the next two weeks...tenor sax player Stan Getz is back and is joined in the front line by the jazz violinist Stuff Smith. It’s called the Getz Stuffed Quintet.” Or, another of my favourites: “We had Miles Davis in the club last week, and he was very kind. He took me to one side – and left me there”

Happy Listening, in Toronto or wherever you are.

Jim Galloway is a saxophonist, band leader and longtime Artistic Director of the Toronto Downtown Jazz Festival. He can be contacted at: jazznotes@thewholenote.com.


Last month I wrote about the general decline in jazz clubs, and the concert hall or festival stage having become almost the only way of seeing and hearing “name” performers.

It got me thinking about the early days of jazz in Canada when, in fact, there were no jazz clubs as we have come to know them. For much of the following historical information I am greatly indebted to Mark Miller and his richly informative book about the early development of jazz in Canada: Such Melodious Racket, a must-have if you’re interested in the history of the music.

Toronto has a wealth of theatre history and plays a role in bringing ragtime, which was a precursor to jazz, to Canadian audiences. Shea’s Victoria was built in 1910 at the southeast corner of Victoria and Richmond, and with 1,140 seats was considerably larger than the original Shea’s Theatre on lower Yonge St. In 1911 a group called  the Musical Spillers played a week there, sharing the bill with humourist Will Rogers. The Spillers had been touring the Pantages circuit, featuring “original ‘rag time’ music on six saxophones, three cornets, three trombones and six hundred dollars worth of xylophones.” In the same year, a saxophone ensemble called the Brown Brothers, sons of Canadian cornetist and bandmaster Allan W. Brown also played Shea’s with the Gertrude Hoffman Revue.

The next Shea’s Theatre stood from 1914-1956 on its new location, (a fire destroyed the previous theatre on Victoria Street), on Bay Street opposite old City Hall, until it was demolished in 1957 for new City Hall. Incidentally, the pipe organ was eventually relocated to Casa Loma. With 3,663 seats it was one of the largest vaudeville theatres in the world – one of the big four, including the Orpheum in Los Angeles, Loew’s State and the Palace in New York, and it attracted the best vaudeville acts. In late 1917 a group called the Verrnon Five, “expert exponents of the new music known as jazz,” appeared there, and the Toronto Globe reviewer wrote that they “succeeded at times in making a diabolical noise, thus justifying their claims to [being] a ‘Jazz’ company.”

It would be a major overstatement to call these events jazz concerts, but for thousands of people it was their first introduction to this new music. (The jazz concert as a formal occasion came to Toronto much later – at the Eaton Auditorium in October of 1945, a month before Charlie Parker’s first appearance at Massey Hall.) So, in a sense, we’ve gone full circle, from early “jazz” being presented in theatres to jazz being presented in concert halls. It has to be remembered, of course, that in those early days there were no jazz clubs in Toronto to go out of business!

Toronto the Good

When we talk about alcohol we think of prohibition and speakeasies in the U.S., but not everyone thinks of Canada – although Ontario, for example, introduced Prohibition measures from 1916 to 1927. There were exceptions however. Ontario’s wineries were exempted, and many breweries and distilleries remained open to serve the export market. It was also possible to ask your doctor for a prescription of rum or whisky – strictly for “medicinal” purposes, of course. This sort of legislation reminds me of the old joke: “Why did the Canadian cross the road?” “To get to the middle!”

Even when I arrived in Toronto in the mid-60s I can remember my amazement when I went to my first official liquor store (to this day a government monopoly) where there were no bottles on display. It was illegal to have even a glimpse of the liquid pleasures in store – and I had to fill in a form giving my name, address and what I wanted to purchase. It was a far cry from the Glasgow I had left; but that was then and thank goodness things have changed.

Footnote: In a conversation with Mark Miller before finishing this piece, he told me that he had unearthed some interesting information, after Such Melodious Racket had been published. At 14 King Street East, opposite the King Edward Hotel, in the years 1917-18 there was an establishment called the Cafe Royal that imported jazz bands from the United States!

24aSee  Hear

The partnership between jazz and visual arts has been a sometime feature of programming at the McMichael Gallery. On October 18, 2009 at 1:30 you can enjoy an afternoon of jazz with Tara Davidson, and on November 1st the featured artist will be Alberta-born Colleen Allen. They’re both outstanding reed players representative of the younger generation of established and highly creative players on the local and international scene. The Gallery is at 10365 Islington Ave., Kleinburg. 905-893-1121.

24bMeanwhile, the Jazz Vespers at Christ Church Deer Park, 1570 Yonge Street, continue and on Sunday, October 11, 2009, Joe Sealy (piano) and Paul Novotny (bass) will be featured, followed by the Dixie Demons on the 18th, and Tara Davidson and Mike Murley on the 25th.

Degrees of jazz

The University of Toronto continues its presentation of Small Jazz Ensembles on Wednesday evenings, at 7:30pm in Walter Hall in the Edward Johnson Building.

There’s no admission fee and you have a chance to hear the work of the next generation of musicians. Also, one of the clubs where young players have a chance to get their feet wet in the school of hard knocks and mix with established players is The Rex on Queen Street West, which continues to programme 19 bands per week, including top student ensembles.

There is music out there, so get out and hear some of it live.

Jim Galloway is a saxophonist, band leader and Artistic Director of the Toronto Downtown Jazz Festival. He can be contacted at: jazznotes@thewholenote.com.

It’s not as bad as it sounds. It is, of course, the start of a new season. Goodbye to the festival merry-go-round and hello to September Song.

It is interesting, albeit somewhat disheartening, to observe the downward spiral in Toronto – and you can substitute almost all the cities in North America that had a reputation for being “jazz” centres – since the glory days when there were touring bands and a circuit of clubs within driving distance which made it possible to go on the road with a group. There were places for musicians to hone their skills, and a recording industry in which the major labels at least paid lip service to leaders such as Horace Silver, “Cannonball” Aderley and Thelonious Monk, to name only a few. I can remember when The Cav-A-Bob, a club at the foot of Yonge Street, actually hired bands  for a month at a time – bands that included such great jazz players as “Doc” Cheatham, Vic Dickenson, Rudy Powell, Red Richards and Buddy Tate!

But the cutbacks kicked in, and a group which normally would have been a sextet became a quintet and the first musician to be left at home would invariably be the bass player, unless, of course, he happened to be the leader. Not much point in going to see the Mingus band if he wasn’t there! The economics of the business became tougher and eventually, instead of an organized group touring, individual artists would come to town and play with a  local rhythm section for a week, sometimes two weeks, until the week became maybe Thursday through Saturday.

Eventually all of those venues fell by the wayside and we are now in a situation where a week-long engagement in a club just does not exist in this city. Today, the concert hall or festival stage has become the only way of seeing and hearing “name” performers. It is a fact of life, and we have to accept it.

So what is in store for Toronto jazz audiences this fall? Quite a lot, as a matter of fact, given the above realities. One of the big events is the opening of Koerner Hall at the Royal Conservatory of Music and on September their first jazz concert will feature the Chick Corea, Stanley Clarke & Lenny White Trio with Sophie Milman opening for the main attraction. This new venue is something the city has needed for a long time, a custom-designed performance space with a capacity of just over 1,000 seats. It is beautifully designed, and if the acoustics sound as good as the hall looks it will be a winner.

Located across the street from the Roy Thomson Hall, Quotes Bar & Grill will get underway on September 18 with a new season of Friday evening jazz from 5:00 to 8:00 pm. It’s the fourth year of presenting “Fridays at Five,” featuring the Canadian Jazz Quartet with a guest instrumentalist each week. Saxophone great Pat LaBarbera is the featured guest for the launch. This club has really caught on with fans who like their jazz straight ahead and swinging and it’s a great way to start the weekend.

Looking ahead a little farther, on Thursday September 24 Roy Thomson’s sister venue, Massey Hall, will present Ornette Coleman. His revolutionary musical ideas have been controversial and  his unorthodox manner of playing changed the way of listening to jazz for a lot of people. His primary instrument is the alto saxophone, although he is also a violinist and trumpeter and began his playing career on tenor sax in an R&B band in his native Texas. He has influenced almost all of today’s modern musicians and some of his compositions, such as Lonely Woman and Turnaround have become minor standards.

The Home Smith Bar at The Old Mill is becoming a little oasis of jazz in the West End of the city. Starting September 11, a jazz vocal series called Fridays to Sing About! will run every week from 7:30 to 10:30 pm. Carol McCartney kicks it off with John Sherwood on piano and Dave Young, bass. The following weeks will feature Melissa Stylianou and Heather Bambrick. Meanwhile, the Piano Masters Series will continue on Saturdays, with the cream of local pianists in solo, duo or trio settings. It is a piano player’s heaven because The Old Mill, showing an admirable commitment to their jazz policy, recently installed a new Yamaha C3 grand piano – and the musicians love it!

26AlexanderThe Honourable Lincoln M. Alexander’s career is well documented: Canada’s first black Member of Parliament, observer to the United Nations, a Companion of the Order of Canada and Lieutenant Governor of Ontario from 1985 to 1991. But perhaps less publicized is his great love of jazz. The Jazz Performance and Education Centre, (JPEC) is presenting A Tribute Evening to Lincoln Alexander on October 1 in the Glenn Gould Studio, featuring some of our leading Canadian artists, including Archie Alleyne (drums), Peter Appleyard (vibes), Guido Basso (trumpet and flugelhorn), Russ Little (trombone), Joe Sealy (piano), and vocalists Arlene Duncan, Michael Dunstan, Molly Johnson and Jackie Richardson. Full details can be found at www.jazzcentre.ca. It is a fitting tribute to a great Canadian.

So you see, there is quite a lot of live jazz to hear in the coming weeks – and I’ve only mentioned a few of the venues in town.

It’s true: “Things Ain’t What They Used To Be,” but “Nevertheless,” “The Music Goes Round And Round,” and even although I can’t truly say “It’s All Right With Me,”“I Can Dream, Can’t I?” I hope “Autumn Leaves” you with a good feeling, and that you will enjoy some jazz listening in the coming weeks. Just make sure that some of it is live.

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