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.

Free Summer Concerts by the Calgary Wind Symphony

Looking for a frugal and enjoyable activity for the entire family? How about summer concerts in the park by the Calgary Wind Symphony?

Bring a picnic, a book, Frisbee and enjoy some great concert band classics performed by the Calgary Wind Symphony. Even the family dog can come too!

The concerts take place at Riley Park, Calgary 

(Map).

  The CWS summer concerts are on Sunday, August 11 and Sunday, August 25, 2013. Concert start time is 2:00 pm.

The CWS is directed by Dr. Jeremy Brown. For more information on the Calgary Wind Symphony or to check out the 2013/14 concert season, visit their

website

or their

Facebook page

.

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.

Video Game Jazz Music at The Runaway Five's First All Ages Show

Driving, funky jazz versions of video game music were on tap when The Runaway Five performed in concert in Calgary, Alberta at the National Musical Centre Saturday, April 6, 2013. It was the jazz group's first "all ages" show.

This concert featured Johnny Summers on trumpet and flugelhorn, Shane Statz on tenor sax, Sheldon Zandboer on piano, Brendan McElroy on bass and Karl Schwonik on drums. It was the group's first performance in a quintet configuration.

Jazz Arrangements of Classic Video Game Themes Played by the Runaway Five

The quintet opened the first half with two songs from the SNES game Earthbound (AKA "MOTHER 1+2"):"Sound Stone" and "Threed". This particular arrangement of the "Sound Stone" melody was quite lively, complete with stride piano. It featured solos by Shane, Johnny and and Sheldon.

In contrast, "Threed" was a laid back bossa nova. One of the neat moments in this arrangement was the transition between the flugelhorn and tenor sax solos. There was a lovely dialogue between the two instruments, which weaved and bobbed like someone floating aimlessly in the pool or ocean. I could have sworn I heard a "quote" from "Rainy Days and Mondays" by The Carpenters for a fraction of a second.

Next game on the set list was SimCity 3000, which is known for its jazz and new age soundtrack. "Updown Town" was a toe-tapping medium upswing. The trumpet solo began in the lower registered with shots that gradually led the listeners higher and higher. This was followed by an extremely chromatic piano solo, complete with rapid-fire blues riffs and shakes. After a very catchy vamp, the tenor sax solo gradually built up higher and higher, like a skyscraper.

"Into the Darkness" from Final Fantasy IVwas a lazy jazz waltz. The ensemble played upon the rhythmic ostinato from the introduction, working it into their solos. The flugelhorn solo was soft and mournful. In contrast, the tenor sax rose and fell like waves. The piano solo had punchy riffs and crunchy chords, while the bass solo played upon the theme, leading the audience deeper and deeper, lower and lower into blackness.

Another highlight from the first set was "Love Song" from BioWare's Dragon Age. This slow jazz waltz featured a beautiful duet between the flugelhorn and tenor sax. The sax solo began simply, who lush long tones, but the rhythm grew in complexity, building the tension. In contrast, the piano solo featured tender chords that rose and fell like a sigh. It too gradually grew in intensity with crunchier harmonies. The gradual deconstruction of the theme was a neat effect, just before leading the audience back to the head.

Three more video game themes were performed in the first set. "Buy Something Will Ya" (Earthbound) was a moderate swing number. "Zelda's Lullaby" (Zelda), which showcased the flugelhorn and piano. The Runaway Five closed the first set with the "Overworld Theme" from Super Mario Bros 2.

Soul Jazz, Ragtime and Swing Video Game Music in The Runaway Five's All Ages Concert

The Runaway Five did their best to make the audience forget the miserable weather outside with "Koopa Troopa Beach" from Super Mario Kart 64. Was I the only one pretending to drive my Mario Kart around the beach during the performance? I hope not.

The tenor sax solo was wavy, with splashes up into the higher register. The  flugelhorn solo kept the mood high and bright, not just with playing in the higher register, but with the introduction of a different rhythm. The piano took that rhythm and changed it even more. When the head returned to lead us back to the finish line, it was a nostalgic moment.

Another highlight from the second half of the show was "Muscle Soul" from Battlefield Bad Company 2 Vietnam (Hill 137). This isn't a game I'd normally play, so hearing this theme was my introduction to the music of Anders Lewen.

This number opened with the bass and drums vamping on that opening riff until one by one, the rest of the company stepped in. The trumpet solo traversed a wide range, like a unit marching to their next mission. The sax solo was as soulful as the original recording. The piano solo had a little Motown, a little funk and a hint of disco.

The Runaway Five closed the show with "Air Platform - The Athletic Rag" from Super Mario World. The quintet had fun playing around with the two main themes from this classic video game. The trumpet solo used the A theme as a springboard to new riffs.

The tenor sax took the last rhythms played by the trumpet and then improvised on the B theme, then back to the A theme before tossing it to the piano, where we heard a chromatic treatment of the B theme, complete with zippy runs. The drum solo was playful, exploring different rhythmic and timbre combinations.

Three more VG themes were featured in the second set, including the "Figaro Castle Theme" from Final Fantasy III (VI), "Green Hill Zone" from Sonic the Hedgehog 2 opened with the drums and music from Street Fighter.

About The Runaway Five

Founded by Brendan McElroy, the Runaway Five performs jazz music arrangements of classic video games, including Super Mario Bros., Final Fantasy and Zelda. In 2008 and 2009, the group performed at Massey Hall in Toronto during the Video Games Live tour. The ensemble members change, increasing or decreasing depending upon the needs of the show.

The Runaway Five performed an intimate concert open to all ages on Saturday, April 6, 2013 at the National Music Centre. The interplay between the musicians was a delight to hear, while the themes left the audience feeling nostalgic about games past and present.

If you missed the show, you can check out some of group's earlier performances on their Youtube Channel. The Runaway Five will perform later this year. Details to follow.

Concert Review of the Calgary Wind Symphony's Hilarious Holidays

The Calgary Wind Symphony performed a selection of upbeat and amusing band music at its Christmas concert on Sunday, December 2, 2012 at the University of Calgary's Rozsa Centre. Cellphone soloist Wendy Freeman and pianist Julie Jacques drew the crowd in with their energetic performances.

The CWS Set the Stage for an Afternoon of Hilarity

Various members of the Calgary Wind Symphony glittered. Literally. There was a wide assortment of blinking and non-blinking elf caps, Santa Claus hats and reindeer antlers, which set the tone for a lighthearted musical afternoon.

“

It only gets more garish as the afternoon goes on,” quipped CWS Music Director, Dr. Jeremy Brown after walking on stage with his fire-truck red cummerbund beneath his tux.

Fanfare and Cell Phones Highlighted at the Calgary Wind Symphony Concert

The CWS its Christmas programme opened with Jim Colonna's “Fanfare on Adeste Fidelis”, a lively number that featured a witty fugal fanfare in the brass. This was followed up with Jan Van der Roost's “Flashing Winds”. This energetic number contained sweeping themes reminiscent of the classic TV show “Bonanza”.

One of the highlights from the first half was the “Concerto for Cell Phone” by James M. Stephenson. Yes, you read that correctly – cell phone. Soloist Wendy Freeman scoured the malls to record “the six most epic ring tones”. Each ring tone was “introduced” by the cellphone and then developed by the CWS. The fugal treatment of the infamous NOKIA® ring tone was beautifully done.

The first half ended with “Pequeña Suite para Banda” by Luis Serrano Alarcón. This suite featured some polytonality, instruments played in extreme registers and catchy rhythms. The flute solo in the “Rana” was simply exquisite, while the melodic themes in “Galop” weaved a twisting soundscape, punctuated with energetic, Batman-like “SPLATS”.

The CWS Presents the World Premiere of Le Tombeau de Liberace and More Season Favourites

The hilarity reached epic levels in the second half, beginning with the world premiere performance of Michael Daugherty's

“Le Tombeau deLiberace”

. This suite in four dances is scored for piano, flute, clarinet, French horn, violin and percussion. Julie Jacques of Calgary took on the role of Liberace at the piano.

It showcased everything you'd expect for a Liberace tribute – glittering rings, feather boas, candelabras and trademark Libarace piano riffs. The first dance, the “Rhinestone Kickstep”, featured a dialogue between the marimba and the piano, boogie woogie rhythms and crunchy harmonies.

“

How Do I Love Thee” is named after Elizabeth Barret Browning's sonnet of the same name. Liberace often recited this poem at performances. It featured a mournful melody on the French horn, glittering

arpeggii

on the piano and some lush Debussy-esque harmonies.

“

Sequin Music” is a classic example of

dodecaphonic

music. The 12-tone motive was presented and then developed through various permutations, such as transposition, inversion and retrograde. It became more embellished once the piano cadenza was reached.

The final dance in the suite is “Candelabra Rhumba”. The Spanish-flavoured theme weaved between the instruments against heavily syncopated rhythms played on the piano.

The stage lit up even more for the next piece, with a sudden increase in blinking Christmas hats and antlers. The CWS performed “Canadian Brass Christmas”, arranged by Luther Henderson and adapted for band by Howard Cable.

This upbeat number opened with the Big Ben clock theme before launching into a contrapuntal treatment of “Ding Dong Merrily on High”. The medley also included “Here We Come A Wassailing” as well as “Huron Carol”.

Another highlight from the second half was “A+: A Precise Prelude and an Excellent March” by Thomas C. Duffy. To set up this number, trombonist and band

teacher, Jim Kramer shared this quote by baseball legend Ted Williams:

"Baseball is the only field of endeavour where a man can succeed three times out of ten and be considered a good performer.”

With “A+”, Duffy wanted to demonstrate the difference between a performance in which everyone is trying to play as proficiently and expressively as possible (A+) and a performance akin to Williams' 3/10 game stats. Suffice it to say that Duffy and the Calgary Wind Symphony proved that getting 3/10 notes right in music is unacceptable.

The final number on the programme was Leroy Anderson's “Sleigh Ride”. As an encore, the CWS performed Karl L. King's “Circus Days – Galop”, featuring Monica Leong on bicycle honker horns.

About the Calgary Wind Symphony

The Calgary Wind Symphony is a 60-member ensemble, directed by Dr. Jeremy Brown of the

University of Calgary

. Formerly known as the Calgary Concert Band, the ensemble has been active in Calgary's musical community since 1947. The band went on a European tour in 2011, performing to enthusiastic audiences in Italy and Austria.

In the summer of 2012, the CCC changed its name to the “Calgary Wind Symphony”, operating under the Calgary Concert Band Society.

Music aficionados can check out the Calgary Wind Symphony's upcoming concerts for the 2012/13 season. On Sunday, March 3, 2013 at 2:30 p.m., the CWS presents “Music of Mysteries, Legends and Ritual”. On Sunday, June 2 at 2:30 p.m., the Calgary Wind Symphony presents “Apollo Sings! Music that Soars”. Both concerts will take place at the Rozsa Centre on the U of C campus. For more information and to buy concert tickets, please visit the

CWS's website

.

The Calgary Wind Symphony's “Hilarious Holidays!” concert in Calgary on December 2, 2012 boasted a lively and amusing programme guaranteed to elicit giggles and chuckles from the audience. From the downbeat, the CWS had audience members tapping their toes, chuckling and cheering in appreciation for not only a proficient performance, but a highly entertaining one.