Vivaldi's 'Other' Gloria

While I was writing this week's article for Examiner.com, I listened to Antonio Vivaldi's Introduction and Gloria, RV 588. It is not as famous as his RV 589.

I've always enjoyed Vivaldi's music, ever since I studied his Four Seasons in music history.The imagery in all four concerti is just lovely.

That admiration grew even more when I visited his fair (but stinky) city of Venizia in 2001. The culture is so rich in Venice. Musicians performing everywhere. Stunning blown glass works and delicate lace.

In  The ‘Other’ Vivaldi Gloria: Discovering a Lesser-known, Gregory M. Pysh describes it as "a delightful and most accessible setting for choirs of all abilities." It certainly is sonorous and pleasing to the ear, although I wouldn't go so far as to call it completely "accessible" to all levels. Every work has its trouble spots.

Here is a snippet of this work by Antonio Vivaldi for choir and chamber ensemble:

Alas, I cannot attend this Sunday's performance of this by the Calgary Bach Society (so many Calgary concerts and events, so little time). I do hope to catch a performance by this local chamber music ensemble soon.

If you'd like to add Vivaldi's Gloria & Introduction to your music collection, you can find it on Amazon:

Music by The Duke and Harry Connick Jr., A CJO Concert Review

Soulful sounds and funky grooves marked the CJO's final jazz concert of the 2010/11 season. The Calgary Jazz Orchestra played to a full house when members took to the stage Sunday, April 10, 2011 at River Park Church.

The first half of the programme featured the music of Duke Ellington, an American arranger, band leader, jazz composer and pianist from the Cotton Club era. The music of New Orleans actor, composer and jazz vocalist, Harry Connick Jr. comprised the second half. Connick Jr. burst onto the music scene with his soundtrack to When Harry Met Sally.

Opening Act Dr. E.P. Scarlett High School Jazz Band

The Jazz Band from Dr. E.P. Scarlett High School in Calgary, Alberta warmed up the audience with three numbers. They performed “Idiom '59 Part II” by Duke Ellington, “Blue Serge” by Mercer Ellington and “Orange Colored Sky” by Milton DeLugg and Willie Stein.

Under the direction of Jonathan Bell, the E.P. Scarlett Jazz Band has performed at various festivals and competitions in Alberta. Most recently, they received the top award at the the 2011 Alberta National Band Festival.

Classic Duke Ellington Featured in the CJO's First Set

Drummer Greg Baker encouraged the audience to help set the tempo for the first number while the rest of the Calgary Jazz Orchestra members were getting ready. The group opened with “Play the Blues and Go”. This upbeat number featured solos by Gerry Hebert on clarinet, Shane Statz on tenor sax, Al Muirhead on trumpet, Dave Reid on trombone, Rich Harding on alto sax and Kodi Hutchinson on bass.

Special guest, jazz vocalist Hazel Proctor received a warm welcome. She came on stage to sing “Mood Indigo”. Proctor performed with the CJO at the December “A Perfectly Frank Christmas” concert. She sings with the Dixie Boppers in Calgary, Alberta and has performed at Dixieland jazz festivals throughout Canada and the US.

One of the highlights from the first half was “It Don't Mean a Thing”. This toe-tapping number featured many stunning solos. Shane Statz presented a weaving solo, while Kim Beachum delivered a fast and furious solo on trumpet. The fingers of each member of the rhythm section were a blur during their respective solos. Rich Harding's solo showcased his superb sense of phrasing. The song accelerated dramatically to the double bar line.

Other songs featured in the first set included “In a Mellow Tone”, “Solitude” and Ellington's arrangement of “In the Hall of the Mountain King” from Edvard Grieg's Peer Gynt Suite. “Solitude” put the spotlight on Gerry Hebert on soprano saxophone and multi-instrumentalist Dave Reid on euphonium.

Sultry Jazz, Witty Quips and the Music of Harry Connick Jr. Mark the Second Half

The CJO kicked off the second half with “Blue Light Red Light”, a medium tempo number which featured director Johnny Summers on vocals. While the second number was being introduced, a cell phone rang in the audience. “Go ahead and get it,” quipped Summers. “Buy low, sell high,” he added, which garnered a few laughs. Summers really shone in “Jill”. This number featured the rhythm section, as well as Shane Statz.

The programme wrapped up with a New Orleans funk number, “Mind on the Matter”. Special guest Spencer Cheyne joined Greg Baker on drums. Dave Reid's solo included a musical quote of “In the Hall of the Mountain King”. Pianist Egor Ukolloff delivered his funky solo with impressive technical fluency. Johnny Summers sang and later performed a solo on trumpet. Baker and Cheyne traded two's with the rest of the band. Bakers also added his vocals during the head. Other performed included “Last Payday”, “Spot” and “It Had to Be You”, which Connick Jr. sang on the When Harry Met Sally soundtrack.

There was a pregnant pause after the final round of applause at the end of the programme. It was if the audience was waiting for Summers to say something else, or for drummer Greg Baker to yell “Encore!” as he did at the ENTERTAINMENT! Concert.

“Now what?” asked Summers. Turning back to the band, he added that although the programme was done, no one was moving. Only then did members of the audience ask for an encore. “This is the freakiest encore ever,” Summers added. The CJO obliged by performing “Come By Me”. The audience rose to its feet in a standing ovation for several minutes afterward.

Calgary Jazz Orchestra Unveils Its 2011/2012 Concert Season

The CJO divulged its 2011/2012 concert season. Upcoming concerts will feature the music of Chet Baker, Billie Holliday and Frank Sinatra. It will also showcase music from Cuba.

Subscribers can buy season tickets on the Calgary Jazz Orchestra website for $85 prior to August 1, 2011. Subscriptions will go up to $90 after August 1. Single tickets will be available for $25 each.

About the Calgary Jazz Orchestra

The CJO was founded by director Johnny Summers in 2004. This concert featured Gerry Hebert, Rich Harding, Dr. Jeremy Brown, Shane Statz and Sarah Matheson on the saxophone. Hebert, Harding and Brown also played the clarinet on selected numbers. The trumpet section is comprised of Johnny Summers, Kim Beachum, Gordon Wilhelm and Al Muirhead. Brian Walley, Jim Scott, Mike Thomson and Dave Reid make up the trombone section, while Egor Ukolloff (piano), Kodi Hutchinson (bass) and Greg Baker (drums) form the rhythm section.

The Calgary Jazz Orchestra ended its 2010/2011 concert season by performing to a full-capacity audience on Sunday, April 10, 2011 at River Park Church. The concert featured big band jazz arrangements of music by the “Cotton Club King”, Duke Ellington, as well as New Orleans crooner Harry Connick Jr. The CJO's 2010/11 season has been an entertaining ride, with varied programming, well-played jazz and plenty of laughs.

Originally published on Suite101.com on April 13, 2011. Updated August 7, 2013.

Calgary Jazz Orchestra A Perfectly Frank Christmas 2011 Review

The Calgary Jazz Orchestra performed a sold-out concert at River Park Church in Calgary, Alberta on Sunday, December 18, 2011. From “White Christmas” to “Long Way to Go”, the CJO presented a wide range of big band jazz, Frank Sinatra classics and Christmas favourites.

The CJO trombone section played a selection of Christmas carols while the audience found seats. Extra seats soon had to be added.

Opening Act William Aberhart Jazz Ensemble Performed Big Band Hits

William Aberhart High School Jazz Ensemble kicked things off with “Idiom 59 – Part II” (Duke Ellington), an upbeat swing number. It was followed by an arrangement of “All of Me” (Gerry Marks and Seymour Simons) a lively number, which Frank Sinatra has recorded.

William Aberhart High School of Calgary is directed by Kevin Wilms. The Jazz Ensemble performs in concerts, competitions and festivals throughout Alberta.

Swing, Call and Response and Impressive Jazz Solos in CJO's Opening Set

Members of the Calgary Jazz Orchestra walked on-stage confidently and in relaxed spirits, sporting festive red ties. The notable exception was the rhythm section, who wore black ties.

The first number was a cheerful arrangement of Sergei Prokofiev's “Troika”. The original theme featured pianist Egor Ukoloff flying across the keys before the music changed to a medium swing. This featured lively exchanges between different sections of the jazz orchestra. Solos were ably performed by Jeremy Brown, Al Muirhead and Sarah Matheson before the music returned to the traditional theme.

An arrangement of “The Grinch” (James Horner) followed. The dreamy opening showcased the piano, flutes and clarinets. The trumpets and saxophones took over, building the excitement until the Grinch theme appeared, played on the baritone sax. This slow swing number featured solos by Muirhead, Matheson and Shane Statz.

Crowd favourite Hazel Proctor sang “Please Come Home for Christmas” (Charles Brown). Wearing a sparkling floral jacket, Proctor dazzled the audience with her soulfulness and wide vocal range. Ukoloff's solo featured numerous runs and tremolos, while Brown's solo mirrored Proctor's earthiness.

Another gem was “Long Way to Go”. Composed by CJO director Johnny Summers, this rousing gospel song was commissioned by the United Way several years ago but was never used. Summers truly shone in this vocal number, delivering the powerful lyrics with a high dose of emotion and skill. Equally moving and impressive solos were performed by Ukoloff, Brown and Rich Harding.

Five more songs were performed in the first set. The CJO played arrangements of “Luck be a Lady” (Frank Loesser), “Just the Way You Look” (Jerome Kern and Dorothy Fields), “Ave Maria” (Franz Schubert), “One for My Baby” (Johnny Mercer) and “I Been Lonely” (Johnny Summers).

Sleigh Ride, White Christmas and Louis Armstrong in CJO's Second Set

The Calgary Jazz Orchestra opened with “I Pray on Christmas” (Harry Connick Jr.). This lively gospel song featured Johnny Summers on vocals, Hazel Proctor singing off-stage and rhythmic clapping by CJO members and the audience.

Throughout the evening, Summers asked the audience about their Christmas Wish List and Christmas traditions. Selected responses garnered free concert tickets to an upcoming CJO performance or a jazz CD.

The audience was also polled on favourite Christmas songs. Sinatra classic, “Have Yourself a Merry Little Christmas” was selected and CJO musicians gamely played while Summers led the sing-a-long. This impromptu addition featured a beautiful solo by Al Muirhead.

Greg Baker surprised new listeners and delighted CJO regulars with his imitation of Louis Armstrong. Exchanging places with Summers, Baker sang “What a Wonderful World” (Bob Thiele and George David Weiss) .

The final number was “I'll Be Home for Christmas” (Kim Gannon and Walter Kent). This medium swing number gave each CJO member a chance in the spotlight. Every musician who could move walked to the front of the stage and played a solo when his or her name was announced.

Five more Christmas classics were also performed, including “Sleigh Ride”, “White Christmas” and “Oh Holy Night”. Sinatra standards, such as “Fly Me to the Moon” and “All of Nothing at All” were also featured.

After the last note died away, the audience quickly rose to give the CJO an enthusiastic standing ovation. The jazz ensemble responded by performing “Come By Me” by Harry Connick Jr. for an encore.

The skilled and playful banter – both musically and verbally – made this year's “A Perfectly Frank Christmas” a delightful concert. For instance, a lick played on the piano would later show up in a saxophone solo. Many of the solos drew cheers and whistles from the audience.

About the Calgary Jazz Orchestra

The Calgary Jazz Orchestra was founded by Johnny Summers in 2004. Gerry Hebert, Rich Harding, Jeremy Brown, Shane Statz and Sarah Matheson performed on saxophone, flute and/or clarinet. The trumpet section included Johnny Summers, Kim Beachum, Gordon Wilhelm, Al Muirhead and André Wickenheiser. Brian Walley, Tim Embree, Nathan Gingrich and Greg Robertson performed on trombone. The rhythm section included Egor Ukoloff (piano), Kodi Hutchinson (bass) and Greg Baker (drums).

Arrangements by Johnny Summers, Greg Baker, Billy Byers and Paul Ashwell were used. Summers and Baker also sang in several numbers.

Jazz lovers will have three more opportunities to hear the Calgary Jazz Orchestra in the 2011/12 season. On January 23, 2012, the CJO and the UofC Jazz Ensemble will perform with Grammy winner Maria Schneider. Billie Holliday and Chet Baker music will be performed on February 12, 2012 and finally, blues tunes and numbers written by CJO members are on tap for May 6, 2012. Earlier in the year, the CJO presented a concert featuring swing, Latin and Cuban music.

The Calgary Jazz Orchestra performed to a full house on Sunday, December 18, 2011 at River Park Church in Calgary. This exciting jazz concert featured big band music, Frank Sinatra hits and jazzy Christmas classics that had the entire audience clapping, singing and cheering.

Originally published December 21, 2011 on Suite101. Updated August 7, 2013.

Calgary Wind Symphony Apollo Sings Concert Review

Sweeping melodies, dramatic contrasts and lush imagery were on tap at the Calgary Wind Symphony's June 2, 2013 performance at the Rozsa Centre. Billed as "Apollo Sings! Music that Soars", this live concert featured a diverse mix of program and absolute music to work the listener's imagination.

Picking up the conductor's baton for this wind symphony concert were Artistic Director Dr. Jeremy Brown and Associate Conductor Wendy Freeman. CWS members Mary Hamm and Noel Jones were featured in Mendelssohn's Concertpiece No. 2 for Two Clarinets with Band.

Programme and Aleatoric Music Performed by the Calgary Wind Symphony 

The concert opened with Alfred Reed's The Hounds of Spring. The work is based on Algernon Charles Swinburne's poem Atlanta in Calydon. The sweeping melodic lines, depicted romance in the springtime. This was a number that showcased just how wonderful the acoustics are in the Rozsa Centre. It also demonstrated how tight the ensemble is. The balance was superb, while the tone was rich and warm..

Yasuhide Ito's Gloriosa was one of the many hidden gems on the programme. This work for symphonic band featured Christian hymns that were "Japanified" by Crypto-Christians who continued to practice their religion in secret after it was banned in Japan (1643 - 1848).

Gloriosa  contains three movements. "Oratio" was dripping with melancholy. The chimes in the opening, followed by the CWS singing a Gregorian chant, filled the hall with sorrow. In contrast, the middle section featured the flutes and clarinets playing a sweeping Japanese melody, punctuated by accents and harmonies in the brass, depicting the persecution of the Crypto-Christians. The movement ends as it began, with distant chimes. It was an utter delight to listen to the Calgary Wind Symphony sing the Gregorian chants.

"Cantus" showcased the flute and piccolo playing a melody sounding very much like a traditional Japanese song on the shakuhachi. Another Gregorian chant was buried deep within the score, nearly hidden by the flute melody, the taiko-like percussion and the blues-like harmonies..

From the shrill opening to the taiko-like rhythms, "Dies Festus" sounded more like a battle than a festival. This movement contained a Nagasaki folk song that was popular where many Crypto-Christians lived.

Christiaan Ventner's Dancing Lights of the North earned positive comments in the lobby during intermission from various concert patrons. To introduce it, Dr. Brown spoke of how the process is just as important as the melody. The piece is comprised of unfolding segments that contain a high element of improvisation.

It opened with a solo water glass passage (yes, you read that correctly), The twinkling percussion undoubtedly represented stars, while the woodwinds represented the shimmering aurora borealis. To me, the rumbling brass depicted night descending upon the listener. Later, the woodwinds sounded like birds and crickets in the night:

Associate Conductor Wendy Freeman conducted Illyrian Dances by Guy Woolfenden. This three-part work would fit perfectly in a fantasy tale such as the Chronicles of Narnia series. "Rondeau" was a lively modal dance peppered with syncopation and hemiolas. In contrast, "Aubade" was a slow and dreamier movement. "Gigue" is extremely playful, as depicted by the dancing flute melody and light percussion. The horns interjected with a hunting-like theme.

The CWS Presented Dramatic Contrasts and Meltdown by Marco Pütz

Calgary Wind Symphony members Mary Hamm and Noel Jones took to centrestage for Mendelssohn's Concertpiece No. 2 for Two Solo Clarinets with Band. The Romantic composer penned the work for the sons of clarinetist Heinrich Barmann.

This three-movement work is highly technical. It opened with a dramatic swell from the ensemble before Hamm and Jones' lines weaved and danced around like birds exploring the landscape from above.The second movement unfoled slowly. The running sixteenths were reminiscent of Schubert's Ave Maria. The third movement was rather operatic, like the love duet between the main characters in an opera. It finishes off with a highly virtuosic cadenza between the soloists.

Hamm and Jones were superb throughout. Their tone was well-matched and their technique complemented each other beautifully. They negotiated through those rapid-fire runs gracefully.

The highlight of the second half was Meltdown by Marco Pütz. This symphonic poem could easily fit into a dramatic film score. Even without knowing the programme - the meltdown of a nuclear reactor - one can easily hear it working for movies involving dinosaurs, gigantic monsters or space battles.

Meldown began ominously with the bass clarinet, followed by the other woodwinds, one layer at a time. The dance of the nuclear particles was extremely tense and frenetic, achieved by instruments playing in the extreme high register, an uneven waltz pattern and dissonant harmonies.

The brass and percussion drove the listeners towards the actual meltdown, with an increase of aural explosions. Rhythm and harmony continued to play a role in weaving a tale of instability, drama and fear. The lone beeping and hum from the synthesizer was akin to a lone machine beeping in the aftermath before fading into nothingness. The closing theme presented by a solo trumpet before being joined by the rest of the wind ensemble, seemed to describe the survivors surveying the landscape after the explosion.

To clear the air, Meltdown was followed up with two lighter works, Leonard Bernstein's Overture to Candide Karl King's The Purple Pageant March. These two are well known and oft-performed.

Smart Programming, Balance and Variety by the Calgary Wind Symphony 

One thing that continues to impress me with the Calgary Wind Symphony is the programme choices. The group isn't afraid to step out of the box of standard concert band repertoire. Each concert has included lesser-known works, as well as pieces that may challenge some listeners.

That's just fine. The edgier works are introduced clearly in the concert programmes as well as by the conductors on stage. What's even smarter is how these works are programmed. There is always a balance between these newer works with a good dose of familiar composers or styles.

About the Calgary Wind Symphony

The CWS (formerly the Calgary Concert Band) is a 60-member wind ensemble that has been around since 1947. It is directed by directed by Dr. Jeremy Brown of the University of Calgary and Associate Conductors Wendy Freeman and Gareth Jones.

Subscriptions for the 2013/14 season are already available.The lobby was abuzz with the news of Carmina Burana on the December programme. For more information, visit the Calgary Wind Symphony's website.

The Calgary Wind Symphony presented an engaging and varied programme for the ensemble's final concert of the 2012/13 season. Like the Greek god, Apollo, the June 2, 2013 concert brought sunlight into the concert hall and lit up the stage with soaring melodies and rich harmonies.

Review of Johnny Summers – Piano Sessions Vol. 1 CD Release Concert

Calgary multi-instrumentalist Johnny Summers and friends delivered an intimate and passionate performance on Saturday, March 16, 2013 at the University of Calgary's Rozsa Centre. The event was a CD Release Party to introduce Summers’ third jazz album, Piano Sessions Vol. 1.

The Calgary event also featured Chris Andrew on piano, Al Muirhead on trumpet, Jason Valleau on bass and vocals, Sheldon Valleau on ukulele and vocals and finally, Shane Statz on tenor sax. Johnny Summers performed on vocals, trumpet and flugelhorn.

Swing, Ballads and Blues Featured in Johnny Summers' Piano Sessions Vol. 1

The concert opened with "She Thinks that I Still Care". Unlike with George Jones' original country stylings, this interpretation was injected with a "hot summer's day in New Orleans" feel.

The dramatic pauses at the ends of key phrases set a playful tone to the number. The trumpet and piano solos were longer than they were on the album, giving Johnny Summers and Chris Andrew an opportunity to really expand on their ideas.

Between numbers, Johnny explained some of his inspirations for recording this jazz album.  Listening to great crooners such as Harry Connick Jr. and Tony Bennett, as well as instrumentalists Bill Evans, Chet Baker and Paul Blaine instilled the idea of an album featuring piano and voice. "That's beautiful to me," he said.

"You're extremely exposed," he divulged. Johnny added, "You have to have a good sense of time."

During the recording sessions, four additional songs were recorded, which didn't make it onto the album: "I'll Be Home for Christmas" and "Winter Wonderland", "Look for the Silver Lining" and "Mood Indigo." The classic Christmas songs were bundled together in Winter Wonderland.  The other two made it onto Saturday's programme.

Jerome Kern & B.G. DeSylva's "Look for the Silver Lining" was made famous by Chet Baker. This medium swing song had a light, breezy feel to it.

Chris' solo was peppered with syncopated rhythms and impressive runs. In contrast, Johnny's solo on his brand new Yamaha flugelhorn was tender and warm, gradually blossoming into each a high point. Partway through, the groove became more animated and the two traded 4's.

The ballad "Maybe This Time" has been recorded by many artists, including crooner Tony Bennett. Johnny shared some of his memories of hearing Bennett sing live in concert. "He walks on stage...and you feel the electricity...When he sings, he fills you."

Johnny's interpretation was soulful and wistful, with an unhurried tempo throughout. That made the climax more impassioned. The piano shakes were performed in a dreamy fashion.

Jason and Sheldon Valleau of the band, The Polyjesters, lent their talents to "My Baby Just Cares for Me". This jazz standard by Walter Donaldson and Gus Kahn has been considered the signature piece of Nina Simone.

This medium swing number featured a soft, easygoing piano solo by Chris. The crescendo towards a soft, fermata in Johnny's trumpet solo was a short reprieve before the melody shot up to the instrument's upper register. The lyrics were delivered with a cheeky and humourous flair. The impromptu "doo-doo-doo" at the end of the tag was by Sheldon was a nice touch.

Variety, Extended Solos and Delightful Surprises at Johnny Summers CD Release Concert

One of the highlights in the second set was Nat King Cole's "I'm an Errand Boy for Rhythm". After a slow introduction on voice and piano, the mood shifted to a lively upswing. The interlude featured a rhythmic piano solo, followed by Al's elegantly shaped phrases. In contrast, Johnny's trumpet solo weaved and raced to the top with rapid runs. The trumpet dialogue between Al and Johnny was playful. At times, it sounded just like scatting. Other times, it sounded like a car race.

This interpretation of Duke Ellington's "Mood Indigo" had shades of Nina Simone. It featured solos by Shane Statz on tenor sax, Johnny on trumpet and Chris on piano.

The final song of the evening was a rousing performance of Johnny Cash's "Folsom Prison Blues". One of the most delightful things about music is that you never hear the same performance twice. This was especially true in this case.

The piano intro was extended for the live performance, gathering momentum just as a train does when it pulls out. The sax solo was grittier, exploring the lower range of the instrument. In contrast, Al's solo was lighter and higher, much like birds chirping. Chris' solo featured a  healthy dose of "crunchy" chords and driving rhythms, while Johnny's trumpet solo spun and shot up - higher - and higher.

Jason performed a percussion solo on his bass before Johnny and Jason scatted. Jason's surprise trumpet-like squeal led to various instruments being imitated.

The entire audience rose quickly to give everyone a standing ovation. The ensemble performed one encore, "St. James Infirmary."

Six more songs were performed at the Piano Sessions Vol. 1 CD Release. Four more other songs were performed in the first set: "Dream a Little Dream of Me", "You Don't Know Me", "Going Home" and "Exactly Like You". The second half also featured "I Wonder, I Wonder" and "Simple Song".

Piano Sessions Vol. 1 Concert Review

From the opening line, the balance between the voice and piano and later, the remaining instruments, was nothing short of perfect. The ensemble made full use of the acoustics that the Rozsa Centre offers, delivering a crisp and clear sound. They definitively demonstrated that the album's Global Music Awards for Best Listener Impact and Best Male Vocalist are well deserved.

Technical proficiency, when coupled with artistry, is a winning combination. What more could a performer or listener ask for? Well, perhaps for the lead vocalist to not have strep throat, perhaps.

The live performance offered listeners different type of performance. Feeding off the energy from the audience and the ensemble can push a musician to new heights of artistry. This manifested on Saturday into spontaneous moments of brilliance that lead to new directions for improvisation. Yes, live was slightly different from the album, but just as beautiful in its own right.

About Johnny Summers

Johnny Summers is a Calgary-based multi-instrumentalist who performs jazz, soul, gospel, blues and almost everything in between. He's a singer and songwriter, as well as a trumpet and flugelhorn player. As the director of the Calgary Jazz Orchestra, he serves as composer, arranger and band leader.

Piano Sessions Vol. 1 is currently available on CD Baby and iTunes on March 16, 2013. Click here to read my album review.