PDF file - Nathan Brock, Conductor

Balkan Music, Flamenco and Middle Eastern ensembles. Then onMarch 19, York’s World@Noon series presents the triple platinum,Israeli singer-songwriter Idan Raichel at the Tribute CommunitiesRecital Hall, Accolade East Building. His “Idan Raichel Project” isdistinguished by its fusion of Hebrew lyrics, Middle Eastern andEthiopian music and electronica.The University of Toronto Faculty of Music presents its own WorldMusic ensembles in concert March 16 and 21 at the MacMillanTheatre, Edward Johnson Building. On March 28, at Walter Hall,the exemplary Vocal Jazz Ensemble is directed in concert by theinspired extended vocalist, conductor and teacher Christine Duncan.They will perform with their guest, Darbazi, our region’s first andmost accomplished Georgian polyphonic choir.There was atime in the early1990s whenthe guitar duoStrunz & Farahvirtually definedthe emergingworld musicmarket. Theirvery successfulalbums wonBillboard’sWorld MusicAlbum of the Year and a Grammy nomination. With an eclecticsound that has been described as world fusion, their music is amediated reflection of their cultural roots, including Afro-Caribbean,Latin American folk, flamenco and Middle Eastern music, wrappingit all up in jazz-based improvisation. They’re back on the roadappearing in venues across Southern Ontario this month. Starting atHugh’s Room in Toronto, March 14, they then appear at the CapitolTheatre in Port Hope, the Molsen Canadian Studio at HamiltonPlace, London’s Aeolian Hall and at Market Hall in Peterborough,on March 15, 16, 17 and 18, respectively.Finally, rounding out the month, on March 31 the RoyalConservatory presents “Intercultural Journeys,” echoing the interculturaland peace-bridging function of music proposed by some ofthe other concerts noted this month. Israeli cellist Udi Bar-Davidleads a group consisting of Lebanese violinist Hanna Khoury andPalestinian percussionist Hafez Ali, digging into repertoire mergingEuropean and Arabic classical musics. Their guests, Syriansinger Youssef Kassab, cantor Beny Maissner and Toronto qanunmaster George Sawa, will add yet more inclusive notes to this crossculturalconcert.Andrew Timar is a Toronto musician and music writer.He can be contacted at worldmusic@thewholenote.com.Strunz and Farah.March Ado ...jim gALLOWAySome years ago Petula Clark had a hit called Downtown. Partof the lyric is “The lights are so much brighter there. You canforget all your troubles, forget all your cares and go Downtown.”But for jazz fans, is downtown losing some of its appeal?When I arrived in Toronto, anywhere north of Bloor St. you wereheading for the suburbs. All the major jazz clubs in Toronto were inthe downtown core and, as I’ve said before in this column, going outto hear jazz meant going to The Colonial and the Town Tavern (whowere bringing in “name” American players), George’s SpaghettiHouse, Castle George above the spaghetti house, Friars Tavern, TheGolden Nugget, The Rex and later Bourbon Street, Basin Street,Cafe des Copains. And that is only a partial list of the south ofBloor venues.But with the demise of the club scene The Rex is the only clubfrom the above list still presenting jazz all week long.The Reservoir Lounge does have a six-nights-a-week scheduleof mostly jazz and blues and there are a number of clubs programmingjazz part-time, to which this magazine’s club listings, startingon page 52, well attest. With its Friday evening sessions, Quotesimmediately comes to mind. And for fans of New Orleans jazz,Grossman’s Tavern still has Saturday afternoon sessions which beganover 40 years ago!But, why so few full-time jazz clubs left?Economics played a large part. Travel costs soared, accommodationwas more expensive and fees went up. Some of the artists whoused to play clubs moved to the concert stage. Dizzy Gillespie, GaryBurton, George Shearing, Thelonious Monk, to name only a fewwho played in Toronto clubs, all became concert artists. The audiencefor straight-ahead jazz was aging and very often there was onlya handful of people for the last set: no more hanging and drinkinglate — there was work next morning.Another factor, I believe, is that people who don’t live in thedowntown core go home after work and the thought of driving backto the city is a deterrent. Perhaps starting the music earlier wouldhave helped. In Tokyo I went to a jazz club where the music startedat 5pm and people went there straight from work. In New York manyclubs have jazz from 7:30pm and it seems to work. For example, ifyou get to Dizzy’s Club at 11pm you will have missed the headliner.(To be a little less serious it reminds me of the joke: “Hey buddy,how late does the band play?” “Oh, about a half a beat behindthe drummer.”)March 1 – April 7, 2012thewholenote.com 25