I understand (all too well) that bottom lines need to be met. But in this case, I feel strongly that the proposed cuts are not the way to go.
I've often wondered "How could this music over here be combined with that music over there?" The answer can be found in part in a number of "chamber jazz" projects which I've seen evolve over the past few years in Toronto.
I'm on the email list for the Jazz Journalists Association (JJA, news.jazzjournalists.org) and recently received an email which began, "Don’t worry, this email isn’t asking you for money."
I had the good fortune of being in the audience last night at Humber College to hear artist-in-residence Jack DeJohnette
I don't have a blog posting of my own in me this week, so I'm pleased to present the following guest blog, written by Seth Fried and taken from McSweeney's Internet Tendency
What do you get when you cross a violinist who sings, a clarinetist, a pianist/accordinist, a banjo player, a bassist and a percussionist?
Every once in a while, a couple of events crop up, sometimes even on the same day, which merit special mention.
I've heard it said that talking about music is like dancing about architecture. And on some level, I agree.
I was fortunate to spend last weekend in New York where I spent three days and three nights checking out great music and meeting with colleagues from North America and Europe.
At this time of year, there is always the small matter of new year's resolutions. I admit to not being a huge fan of this annual ritual.