Voices: A Musical Heritage
Composer's Descriptions of work
and Bios
Composer's Descriptions of work
and Bios
Voices - A Musical Heritage
The Parallel Steppes / John Stetch 1. Keeyn ………………………….............................................……………....…… 7:27 2. Ochka ……………………………...........................................………...……… 3:00 3. Yaseni ………………………………….................................................……… 7:30 Homenaje / Rodrigo Muñoz ……………….............................… 7:44 The Living Mind / Jeff Presslaff ………………….................… 7:03 Oriri / Henry Onwuchekwa (arr. Richard Gillis) ….. 5:41 Shadows / Richard Gillis …………………………...................…...… 7:33 Choro para Amazônia / Marco Castillo ………….........… 6:08 Ishpiming / Andrew Balfour (arr. Richard Gillis)... 5:03 The Bison Hunt / Michelle Gregoire ……................….… 6:32 |
SOLOISTS The Parallel Steppes: Keeyn (solos: Will Bonness, piano; Larry Roy, guitar; Richard Gillis, flugelhorn); Yaseni (solos: Will Bonness, piano; Niall Cade, tenor sax) Homenaje (solos: Larry Roy, guitar) The Living Mind (solos: Will Bonness, piano; Jeff Presslaff, trombone) Oriri (solos: Neil Watson, soprano sax; Niall Cade, tenor sax; Will Bonness, piano) Shadows (solos: Paul Balcain, tenor sax; Joel Green, trombone; Neil Watson, soprano sax; Richard Gillis, flugelhorn) Choro para Amazônia (solos: Will Bonness, piano; Andrew Littleford, trumpet; Joel Green, trombone) Ishpiming (solos: Karl Kohut, bass; Andrew Littleford, trumpet; Niall Cade, tenor sax; Joel Green, trombone) The Bison Hunt (solos: Neil Watson, alto sax) |
John Stetch: The Parallel Steppes
The Parallel Steppes title is related to my home province of Alberta and my heritage of Ukrainian culture. It also comes from my feeling that the prairie provinces of Canada, a.k.a. the Baba Belt, are topographically similar and parallel to the steppes of Ukraine. In my youth and teen years, I performed and traveled among the prairies a lot, with the Dumka wedding band and other Ukrainian youth groups.
The first movement “Keeyn” is based on the folk song "Oy Chy Toy Keeyn Stoyit", starting sparsely and building into voluminous contrapuntal and chorale like textures, with a minor blues solo section in the middle. It finishes with a singing chant-like call and response, involving all musicians. Then the trombones engage in sound effects and overtones that mimick the Carpathian Hutzul trembita horns, to prepare for the next key center of Part 2.
The 2nd movement is called “Ochka” which is based on the folk theme "Chorni Ochka Yak Teren". It is an a capella saxophone quintet, and very fugal and involves much canonic interplay. (Like row, row, row your boat, with people entering at different points.)
The last part, “Yaseny”, is an up-tempo showstopper based on Moyi Yaseny. It employs classic swinging drop-two voice leading in the sax soli section, a lot of virtuosic piano with wide broken chord accompaniment, and gradually brings in other folk themes such as the typical hopak and kolomiyka themes. The last section features growing amounts of contrasting and dissonant cross-rhythms and odd-groupings over a steady quintuple-time piano ostinato. Some avant-garde atonality is heard near the end, and the piece finishes with a classic triple forte minor-major 9th chord with everyone sustaining. The same chord that Spider Man, Peter Gunn, Pink Panther and other period crime thriller themes end on; fitting for the conclusion of this dramatic build up and thus tying together these East European and North American cultures.
The Parallel Steppes title is related to my home province of Alberta and my heritage of Ukrainian culture. It also comes from my feeling that the prairie provinces of Canada, a.k.a. the Baba Belt, are topographically similar and parallel to the steppes of Ukraine. In my youth and teen years, I performed and traveled among the prairies a lot, with the Dumka wedding band and other Ukrainian youth groups.
The first movement “Keeyn” is based on the folk song "Oy Chy Toy Keeyn Stoyit", starting sparsely and building into voluminous contrapuntal and chorale like textures, with a minor blues solo section in the middle. It finishes with a singing chant-like call and response, involving all musicians. Then the trombones engage in sound effects and overtones that mimick the Carpathian Hutzul trembita horns, to prepare for the next key center of Part 2.
The 2nd movement is called “Ochka” which is based on the folk theme "Chorni Ochka Yak Teren". It is an a capella saxophone quintet, and very fugal and involves much canonic interplay. (Like row, row, row your boat, with people entering at different points.)
The last part, “Yaseny”, is an up-tempo showstopper based on Moyi Yaseny. It employs classic swinging drop-two voice leading in the sax soli section, a lot of virtuosic piano with wide broken chord accompaniment, and gradually brings in other folk themes such as the typical hopak and kolomiyka themes. The last section features growing amounts of contrasting and dissonant cross-rhythms and odd-groupings over a steady quintuple-time piano ostinato. Some avant-garde atonality is heard near the end, and the piece finishes with a classic triple forte minor-major 9th chord with everyone sustaining. The same chord that Spider Man, Peter Gunn, Pink Panther and other period crime thriller themes end on; fitting for the conclusion of this dramatic build up and thus tying together these East European and North American cultures.
Steinway Artist John Stetch is a 6-time Juno Nominee, and has written over 50 compositions for solo piano, jazz combo and more recently some classical chamber formats. Originally from Edmonton, he has worked at the top clubs of New York City including Mezzrow, Smalls, Smoke and the Jazz Standard, played on many continents, toured Canada a dozen times as a leader, and was a member of Rufus Reid’s group for nearly a decade. He taught at Cornell University for several years, won the Prix Du Jazz at the Montreal Jazz Festival in 1998, and was a finalist in the Thelonious International Monk Competition twice - once as a composer and once as a performer. Stetch divides his time between Vancouver and NYC, and is especially interested in bringing classical and jazz together, and fusing ethnic and popular music with his personal jazz stamp. He is currently pursuing a Master’s of Music in classical Composition at UBC and is on the faculty of the Vancouver Symphony Orchestra School of Music. Stetch just released his 15th CD - Vulneraville: The Vancouver Concert.
Rodrigo Muñoz: Homenaje
Homenaje was written as an homage to Victor Jara who was a very important figure in the Latin American “new song” movement of the the 60s & 70s. He is recognized internationally, and people like Sting and Rogers Waters have dedicated song cicles about him, Jara was Chilean like me and I actually saw him perform in the early 70s shortly before his death. Jara was known for writing great lyrics with social content, but also his melodies and harmonies were beautiful and ingenious.
I wrote the tune first as a guitar and violin duet back in my school of music years, later I arranged it for guitar, cello and violin and the latest is the big band arrangement which we recorded.
The arrangement uses 3 different very common Latin American rhythms: “Cueca" which is Chilean folk dance groove, then a 3/4 rhythm that is very prominent all over Latin America that has a different names in different countries and finally a 6/8 afro cuban bembé pattern.
Homenaje was written as an homage to Victor Jara who was a very important figure in the Latin American “new song” movement of the the 60s & 70s. He is recognized internationally, and people like Sting and Rogers Waters have dedicated song cicles about him, Jara was Chilean like me and I actually saw him perform in the early 70s shortly before his death. Jara was known for writing great lyrics with social content, but also his melodies and harmonies were beautiful and ingenious.
I wrote the tune first as a guitar and violin duet back in my school of music years, later I arranged it for guitar, cello and violin and the latest is the big band arrangement which we recorded.
The arrangement uses 3 different very common Latin American rhythms: “Cueca" which is Chilean folk dance groove, then a 3/4 rhythm that is very prominent all over Latin America that has a different names in different countries and finally a 6/8 afro cuban bembé pattern.
Canadian Chilean guitarist, percussionist, bassist, composer & arranger Rodrigo Muñoz is well known around Winnipeg as the band leader of the popular Latin Jazz ensemble, Papa Mambo, which he formed in the late eighties.
As a percussionist, he has had the honour of backing Latin legends, such as Tito Puente and Jose Luis “Changuito” Quintana, and more recently, Canadian jazz stars like Jane Bunnett and Hilario Duran. As a classical musician, he has given solo recitals and accompanied and/or played with numerous ensembles such as the Winnipeg Symphony, the Manitoba Chamber Orchestra, the Winnipeg Jazz Orchestra, the Brandon University Choir, the Winnipeg Philharmonic Choir, and the Winnipeg Contemporary Dancers.
As a composer and arranger he has worked for the WSO, the WJO, the WCGS, the MCO Outreach Ensemble, Winnipeg Groundswell (new music organization) and the Winnipeg Singers.
Muñoz has served on music-related juries for The Manitoba Arts Council, The Canada Arts Council, and The Canadian Juno Awards. He also gives latin music clinics at different schools and universities around the province of Manitoba.
As a percussionist, he has had the honour of backing Latin legends, such as Tito Puente and Jose Luis “Changuito” Quintana, and more recently, Canadian jazz stars like Jane Bunnett and Hilario Duran. As a classical musician, he has given solo recitals and accompanied and/or played with numerous ensembles such as the Winnipeg Symphony, the Manitoba Chamber Orchestra, the Winnipeg Jazz Orchestra, the Brandon University Choir, the Winnipeg Philharmonic Choir, and the Winnipeg Contemporary Dancers.
As a composer and arranger he has worked for the WSO, the WJO, the WCGS, the MCO Outreach Ensemble, Winnipeg Groundswell (new music organization) and the Winnipeg Singers.
Muñoz has served on music-related juries for The Manitoba Arts Council, The Canada Arts Council, and The Canadian Juno Awards. He also gives latin music clinics at different schools and universities around the province of Manitoba.
Jeff Presslaff: The Living Mind
The go-ahead to write The Living Mind came on the 75th anniversary of the liberation of Auschwitz, so I might be forgiven for hesitating to write a piece that celebrated my so-called background (the original commission). Ethnic pride, after all, is all fun and games until the round-ups begin.
After many sleepless nights, I came upon the idea to write something inspired by a musical structure which seems to be common to all humanity past and present -- a set of musical intervals that musicians call the "pentatonic scale". We have evidence that humans made music with this scale at least 35,000 years ago, and virtually all known folk musics make use of it. It persists in our pop, blues, jazz and classical musics.
The piece is composed in two parts, both using a pitch system of my own devising based on pentatonics. Part Two, where the solo piano begins, came to me in a dream many years ago where a dear friend sang it to me. I woke up, remembered it and wrote it down. It's simplicity I find to be an emotional release from the intensity of Part One.
The title comes from an essay by Ted Dace in which he states, "The truth exists solely in the context of a living mind..." I like the way that solves the problem.
The go-ahead to write The Living Mind came on the 75th anniversary of the liberation of Auschwitz, so I might be forgiven for hesitating to write a piece that celebrated my so-called background (the original commission). Ethnic pride, after all, is all fun and games until the round-ups begin.
After many sleepless nights, I came upon the idea to write something inspired by a musical structure which seems to be common to all humanity past and present -- a set of musical intervals that musicians call the "pentatonic scale". We have evidence that humans made music with this scale at least 35,000 years ago, and virtually all known folk musics make use of it. It persists in our pop, blues, jazz and classical musics.
The piece is composed in two parts, both using a pitch system of my own devising based on pentatonics. Part Two, where the solo piano begins, came to me in a dream many years ago where a dear friend sang it to me. I woke up, remembered it and wrote it down. It's simplicity I find to be an emotional release from the intensity of Part One.
The title comes from an essay by Ted Dace in which he states, "The truth exists solely in the context of a living mind..." I like the way that solves the problem.
Jazz pianist, trombonist, and composer/arranger, Jeff Presslaff has been a mainstay of the Winnipeg jazz scene since moving from New York in 1997.
Born in Manhattan, educated at Princeton and Wesleyan Universities, he has had a varied career working with many distinguished musicians, including Benny Carter, Bill Barron, Ed Blackwell, Roswell Rudd, Sheila Jordan, Bob Brookmeyer, Howard Levy, Stanley Jordan, Bill Watrous, George Garzone, Steve Nelson, Edgar Meyer, Sim Cain, The Temptations, The Four Tops, Josh Groban and many others.
In 2004, he was named Jazz Winnipeg's Musician of the Year.
Jeff is also a teacher of great distinction, having served on the faculties of Princeton University, Bard College, Union College, and The University of Manitoba. Since his arrival in Winnipeg, he has been the teacher of choice for many of the city's top musicians.
Jeff is featured as a player, writer and/or producer on many recordings. Rhapsodies by Two, an album of keyboard duets with Will Bonness was nominated for a 2013 WCMA Jazz Album of the Year award; Red Goddess, a piano trio album of all original tunes, has been played on over 100 radio stations in N.America, and garnered a 2009 Best Instrumental Jazz nomination from Just Plain Folks, the world's largest music awards.
Other albums include The Complete Rebirth of the Cool; All My Tomorrows with Martha Brooks; Crooked Cha and Amanecer, latin/jazz albums by Papa Mambo; Steppin' Out and The Winnipeg Jazz Orchestra by the WJO; Aliza Amihude's small girl,Big Banana; Brazilian Season by Marco Castillo; Dave Lawton's Shield Romp; A Little Tradition by Novillero; North End Shuffle by Ken Gold and Special Grind; and recordings by the CBC of Ozmium, his free-improv trio. He's also featured on several recordings on the exploratory Inter/play label. His 1991 album of original compositions, Collective Unconsciousness features the late Steely Dan saxophonist, Cornelius Bumpus, and Ui bassist, Wilbo Wright. He has also recorded the piano works of composers J. K. Randall and Benjamin Boretz. His writing and playing have been featured on recordings by Prudence Johnson, The University of Manitoba Jazz Ensemble and Ron Paley. His compositions and instrumental work have been heard nationwide on CBC.
Jeff has received many commissions for a wide variety of ensembles, including big band, clarinet choir, combined big band/wind ensemble, symphony orchestra plus salsa band, clarinet quartet and many others. His work is frequently supported by awards from the Manitoba Arts Council and the Canada Council for the Arts. He is the composer of the world's only concerto for cello and big band.
“He gets the harmony just right!” -- Wayne Shorter
http://www.jeffpresslaff.com/
Born in Manhattan, educated at Princeton and Wesleyan Universities, he has had a varied career working with many distinguished musicians, including Benny Carter, Bill Barron, Ed Blackwell, Roswell Rudd, Sheila Jordan, Bob Brookmeyer, Howard Levy, Stanley Jordan, Bill Watrous, George Garzone, Steve Nelson, Edgar Meyer, Sim Cain, The Temptations, The Four Tops, Josh Groban and many others.
In 2004, he was named Jazz Winnipeg's Musician of the Year.
Jeff is also a teacher of great distinction, having served on the faculties of Princeton University, Bard College, Union College, and The University of Manitoba. Since his arrival in Winnipeg, he has been the teacher of choice for many of the city's top musicians.
Jeff is featured as a player, writer and/or producer on many recordings. Rhapsodies by Two, an album of keyboard duets with Will Bonness was nominated for a 2013 WCMA Jazz Album of the Year award; Red Goddess, a piano trio album of all original tunes, has been played on over 100 radio stations in N.America, and garnered a 2009 Best Instrumental Jazz nomination from Just Plain Folks, the world's largest music awards.
Other albums include The Complete Rebirth of the Cool; All My Tomorrows with Martha Brooks; Crooked Cha and Amanecer, latin/jazz albums by Papa Mambo; Steppin' Out and The Winnipeg Jazz Orchestra by the WJO; Aliza Amihude's small girl,Big Banana; Brazilian Season by Marco Castillo; Dave Lawton's Shield Romp; A Little Tradition by Novillero; North End Shuffle by Ken Gold and Special Grind; and recordings by the CBC of Ozmium, his free-improv trio. He's also featured on several recordings on the exploratory Inter/play label. His 1991 album of original compositions, Collective Unconsciousness features the late Steely Dan saxophonist, Cornelius Bumpus, and Ui bassist, Wilbo Wright. He has also recorded the piano works of composers J. K. Randall and Benjamin Boretz. His writing and playing have been featured on recordings by Prudence Johnson, The University of Manitoba Jazz Ensemble and Ron Paley. His compositions and instrumental work have been heard nationwide on CBC.
Jeff has received many commissions for a wide variety of ensembles, including big band, clarinet choir, combined big band/wind ensemble, symphony orchestra plus salsa band, clarinet quartet and many others. His work is frequently supported by awards from the Manitoba Arts Council and the Canada Council for the Arts. He is the composer of the world's only concerto for cello and big band.
“He gets the harmony just right!” -- Wayne Shorter
http://www.jeffpresslaff.com/
Henry Onwuchekwa: Oriri
There is this Africa quote that says:
It's out of ignorance that a goat will attend a leopard's party.
Oriri means party in Henry’s home-town in Nigeria.
It doesn't matter where people come from, Oriri will bring us all together.
This piece can be used for events in the context of celebration or appreciation.
Anything that has to do with community gathering - birthday party, wedding party or any form of festivities - requires Oriri to be played to actually enjoy the events.
There is this Africa quote that says:
It's out of ignorance that a goat will attend a leopard's party.
Oriri means party in Henry’s home-town in Nigeria.
It doesn't matter where people come from, Oriri will bring us all together.
This piece can be used for events in the context of celebration or appreciation.
Anything that has to do with community gathering - birthday party, wedding party or any form of festivities - requires Oriri to be played to actually enjoy the events.
Nigerian-born bassist Henry Onwuchekwa is active on the Winnipeg scene as leader of the group Dr. Henry Band, an 8-piece group that plays Afro Beat music uniquely blended with many other genres. The group is primarily influenced by legendary musician and fellow Nigerian Fela Kuti. The band’s song-writing process is inspired by many native genres of Nigerian music such as igbo highlife, gospel and salsa; as well as jazz, funk, r&b and soul. Dr. Henry Band is comprised of both seasoned and emerging musicians, bringing together years of performing experience with fresh energy. While the band is just beginning its journey in the Canadian music community, their collective musicianship and experience brings many grooves to their stages and moves to their audiences.
Richard Gillis: Shadows
In becoming familiar, over the last 20 years, of the birthplace of three of my grandparents, the elements that have left the biggest impressions on me are: the contrast between light and darkness over the seasons, the sweeping, rugged landscape, the music (folk songs), the creative and busy Icelandic people, and the wind. I’ve incorporated these elements into my piece, beginning with a sonic picture of the landscape, followed by two folk-like melodies that frame the remainder of the piece.
In becoming familiar, over the last 20 years, of the birthplace of three of my grandparents, the elements that have left the biggest impressions on me are: the contrast between light and darkness over the seasons, the sweeping, rugged landscape, the music (folk songs), the creative and busy Icelandic people, and the wind. I’ve incorporated these elements into my piece, beginning with a sonic picture of the landscape, followed by two folk-like melodies that frame the remainder of the piece.
Marco Castillo: Choro para Amazônia
Choro para Amazônia was inspired by the immense Amazon rainforest in South América.
The piece starts with a single line repeatedly played on piano and joined gradually by other instruments, reflecting the beginning of the river. The idea is related to the circle of water that starts to grow as the river follows on its path towards the ocean.
Beginning in a choro style – an original music from Brazil that flourished in Rio de Janeiro from in the 19th century with composers like, Pixinguinha, Joaquim da Silva Calado, Chiquinha Gonzaga, and Ernesto Nazaré - evolves into a Samba, the most popular Brazilian music style.
A ballad section provides a contrast reflecting the Brazilian forest, with life passing in its own terms. The Rainforest has been in existence for 55 million years and humans first settled in the region 11,200 years ago. The Amazon region has been under threat, exploitation, deforestation, droughts and wildfires. The composition is meant to inspire reflection on how we are all connected, and a call for action towards protecting the Amazonia Region.
Choro para Amazônia was inspired by the immense Amazon rainforest in South América.
The piece starts with a single line repeatedly played on piano and joined gradually by other instruments, reflecting the beginning of the river. The idea is related to the circle of water that starts to grow as the river follows on its path towards the ocean.
Beginning in a choro style – an original music from Brazil that flourished in Rio de Janeiro from in the 19th century with composers like, Pixinguinha, Joaquim da Silva Calado, Chiquinha Gonzaga, and Ernesto Nazaré - evolves into a Samba, the most popular Brazilian music style.
A ballad section provides a contrast reflecting the Brazilian forest, with life passing in its own terms. The Rainforest has been in existence for 55 million years and humans first settled in the region 11,200 years ago. The Amazon region has been under threat, exploitation, deforestation, droughts and wildfires. The composition is meant to inspire reflection on how we are all connected, and a call for action towards protecting the Amazonia Region.
Born in the Capital Samba, Rio de Janeiro, Marco Castillo has made Canada his home since 2006. Blending the unique traditional rhythms and contemporary sounds of Brazil with lush jazz-voicings and infectious grooves, Marco’s skills were honed at the feet of the best. After graduating with a Bachelor of Arts in Music at "Estácio de Sá University" in Rio de Janeiro in 1994, he instantly began touring South America with Brazil’s hottest bands.
Castillo’s extensive musical and rhythmic expertise spans from the gentle, warm musical embrace of the romantic Bossa-Nova, rustic and contagious root rhythms of Baião, and the festive, upbeat, exuberant Samba, to the velvety sounds of Smooth Jazz, and alluring, infectious funky grooves.
His intelligent treatment of all the rich Brazilian styles on his Canadian debut CD Brazilian Season (2008), helped it top college radio charts for weeks. Castillo’s much appraised Trip to Brazil (2011), a sumptuous samba compilation was awarded World Recording of the Year (2012) at the Western Canadian Music Awards. Marco’s new release Zabelê (World Recording of the year Nominee WCMA 2014) brings ten original eclectic songs in a perfect and diverse mix of uplifting Latin-Jazz and delivers a variety of deluxe textures. Marco Castillo was a finalist for the 2015 Viña del Mar International Music Festival in Chile, one of the most important music festivals in Latin America, is broadcast and seen by over 150,000,000 fans. Castillo’s original song "Forró no Canadá" from his recently released CD Zabelê, was one of six finalists in the Folkloric category of the competition. The Viña del Mar festival took place from February 21 to 27, 2015 in Viña del Mar, Chile.
Castillo’s extensive musical and rhythmic expertise spans from the gentle, warm musical embrace of the romantic Bossa-Nova, rustic and contagious root rhythms of Baião, and the festive, upbeat, exuberant Samba, to the velvety sounds of Smooth Jazz, and alluring, infectious funky grooves.
His intelligent treatment of all the rich Brazilian styles on his Canadian debut CD Brazilian Season (2008), helped it top college radio charts for weeks. Castillo’s much appraised Trip to Brazil (2011), a sumptuous samba compilation was awarded World Recording of the Year (2012) at the Western Canadian Music Awards. Marco’s new release Zabelê (World Recording of the year Nominee WCMA 2014) brings ten original eclectic songs in a perfect and diverse mix of uplifting Latin-Jazz and delivers a variety of deluxe textures. Marco Castillo was a finalist for the 2015 Viña del Mar International Music Festival in Chile, one of the most important music festivals in Latin America, is broadcast and seen by over 150,000,000 fans. Castillo’s original song "Forró no Canadá" from his recently released CD Zabelê, was one of six finalists in the Folkloric category of the competition. The Viña del Mar festival took place from February 21 to 27, 2015 in Viña del Mar, Chile.
Andrew Balfour : Ishpiming:Epilogue
Ishpiming means “Up” in Ojibway (pronounced ISH PEA MING)
Ishpiming:Epilogue is the second part of a Jazz tone poem about the sky in Northern Canada. There is something magical and spiritual about the sky up north.
Ishpiming means “Up” in Ojibway (pronounced ISH PEA MING)
Ishpiming:Epilogue is the second part of a Jazz tone poem about the sky in Northern Canada. There is something magical and spiritual about the sky up north.
Of Cree descent, Winnipeg based composer Andrew Balfour is an innovative composer/conductor/singer/sound designer with a large body of choral, instrumental, electro-acoustic and orchestral works, including; Take the Indian (A Vocal reflection on Missing Children), Notinikew (Going to War), Empire Étrange: The Death of Louis Riel, Migiis: A Whiteshell Soundscape, Bawajigaywin (Vision Quest), Gregorioʼs Nightmare, Wa Wa Tey Wak (Northern Lights), Fantasia on a Poem by Rumi, Missa Brevis and Medieval Inuit,Quamaniq, Manitou Sky-An orchestral tone poem. His new Indigenous Opera, Mishaboozʼs Realm was recently premiered in Montreal and Halliburton, Ontario, commissioned by LʼAtelier Lyrique de Opéra de Montréal and Highlands Opera Workshop.
Andrew Balfour has also been commissioned by the Winnipeg, Regina and Toronto Symphony Orchestras, Ensemble Caprice, Groundswell, the Winnipeg Jazz Orchestra, the Winnipeg Singers, the Kingston Chamber Choir and Camerata Nova, among many others. His works have been performed and/or broadcast locally, nationally and internationally. His 2019 season includes commissions for Roomful of Teeth, Tafelmusik, Toronto Mendelssohn Choir and the Toronto Symphony Orchestra.
Andrew is also the founder and Artistic Director of the innovative, 14-member vocal group Camerata Nova, now in its 22nd year of offering a concert series in Winnipeg. With Camerata Nova, Andrew specializes in creating “concept concerts”, many with indigenous subject matter (Wa Wa Tey Wak – [Northern Lights], Medieval Inuit, Chant!). These innovative offerings explore a theme through an eclectic array of music, including new works, arrangements and innovative inter-genre and interdisciplinary collaborations.
Andrew has become increasingly passionate about music education and outreach, particularly on northern reserves and inner-city Winnipeg schools where he has worked on behalf of the National Arts Centre, Camerata Nova, the Winnipeg Symphony Orchestra and various Winnipeg school divisions for the past eight years.
Andrew was Curator and Composer-in-Residence of the WSO’s Indigenous Festivals in 2009 and 2010 and in 2007 received the Mayor of Winnipeg’s Making a Mark Award, sponsored by the Winnipeg Arts Council to recognize the most promising midcareer artist in the City. In 2017, he was awarded a Gold Medal by the Senate of Canada for his contribution to Canada’s indigenous and music communities.
Andrew Balfour has also been commissioned by the Winnipeg, Regina and Toronto Symphony Orchestras, Ensemble Caprice, Groundswell, the Winnipeg Jazz Orchestra, the Winnipeg Singers, the Kingston Chamber Choir and Camerata Nova, among many others. His works have been performed and/or broadcast locally, nationally and internationally. His 2019 season includes commissions for Roomful of Teeth, Tafelmusik, Toronto Mendelssohn Choir and the Toronto Symphony Orchestra.
Andrew is also the founder and Artistic Director of the innovative, 14-member vocal group Camerata Nova, now in its 22nd year of offering a concert series in Winnipeg. With Camerata Nova, Andrew specializes in creating “concept concerts”, many with indigenous subject matter (Wa Wa Tey Wak – [Northern Lights], Medieval Inuit, Chant!). These innovative offerings explore a theme through an eclectic array of music, including new works, arrangements and innovative inter-genre and interdisciplinary collaborations.
Andrew has become increasingly passionate about music education and outreach, particularly on northern reserves and inner-city Winnipeg schools where he has worked on behalf of the National Arts Centre, Camerata Nova, the Winnipeg Symphony Orchestra and various Winnipeg school divisions for the past eight years.
Andrew was Curator and Composer-in-Residence of the WSO’s Indigenous Festivals in 2009 and 2010 and in 2007 received the Mayor of Winnipeg’s Making a Mark Award, sponsored by the Winnipeg Arts Council to recognize the most promising midcareer artist in the City. In 2017, he was awarded a Gold Medal by the Senate of Canada for his contribution to Canada’s indigenous and music communities.
Michelle Gregoire: Bison Hunt
Bison hunters rode horses known as “buffalo runners.” These swift, powerful horses were needed to run straight and to maintain their speed through the chaos of The Bison Hunt (reflected in the groove) while the hunters loaded, aimed and shot their guns. Good buffalo runners had to be carefully trained so they would not panic when running in the large bison herds. Hunting took a great deal of skill for both the horse and rider. Many Métis became successful ranchers and cowboys due to the useful skills they acquired from bison hunting. Métis women were also essential to the bison hunts. They would follow in carts, and once a hunter took down a bison, he would leave a “glove as a token.” The women would then take the carcasses and use them to prepare pemmican.
Métis bison hunts included a general or chief and several captains who each led a group of 10 men, or “aen dizain” in Michif. The hunt had to be organized because the whole community often relied on bison for food. Even prior to the bison’s near decimation in the 1870s, the Métis recognized that the animals were a finite resource that had to be protected. During the hunting season in 1840, the Métis codified the protection of this invaluable resource through rules referred to as the “Laws of the Hunt” or “Laws of the Prairies.” This set of laws forbade buffalo hunting on the Sabbath, enforced running and patrolling rules, and defined clear punishments for offenders of the laws.
Bison hunters rode horses known as “buffalo runners.” These swift, powerful horses were needed to run straight and to maintain their speed through the chaos of The Bison Hunt (reflected in the groove) while the hunters loaded, aimed and shot their guns. Good buffalo runners had to be carefully trained so they would not panic when running in the large bison herds. Hunting took a great deal of skill for both the horse and rider. Many Métis became successful ranchers and cowboys due to the useful skills they acquired from bison hunting. Métis women were also essential to the bison hunts. They would follow in carts, and once a hunter took down a bison, he would leave a “glove as a token.” The women would then take the carcasses and use them to prepare pemmican.
Métis bison hunts included a general or chief and several captains who each led a group of 10 men, or “aen dizain” in Michif. The hunt had to be organized because the whole community often relied on bison for food. Even prior to the bison’s near decimation in the 1870s, the Métis recognized that the animals were a finite resource that had to be protected. During the hunting season in 1840, the Métis codified the protection of this invaluable resource through rules referred to as the “Laws of the Hunt” or “Laws of the Prairies.” This set of laws forbade buffalo hunting on the Sabbath, enforced running and patrolling rules, and defined clear punishments for offenders of the laws.
Pianist and composer Michelle Gregoire grew up in Ste-Anne, Manitoba, a small francophone community thirty minutes outside of Winnipeg. By the time she was 17, she was working professionally as a pianist and keyboardist in the local Winnipeg scene with established artists such as Walle Larsson and Larry Roy. At the age of 19, she pursued jazz studies at the prestigious jazz program at St. Francis Xavier University in Nova Scotia. She completed a Master of Music degree in Jazz Studies from the Florida State University in 1993 and attended the Hugh Fraser Jazz Orchestra Residency in Banff where she worked with Maria Schneider in 2002 and Kenny Wheeler in 2004. She has also studied privately with world renowned composer Bob Brookmeyer, Maria Schneider, and Canadian musicians David Restivo and David Braid. In 2006-07, Grégoire spent four months at the Banff Centre where she spent focused time composing and working with some of the world’s most brilliant musicians, composers and conductors. These included Joel Smirnoff, Rodney Sharman, Mark Applebaum, and John Halle.
Michelle has been very active in the francophone music scene working as musical director for various CBC and TVO radio and television productions such as “Le Chant Ouest”, “Les Prix Riel”, “Le Gala Manitobain de la Chanson”, “En Eclosion”. She was a houseband member for the TV series “Un air de famille”, The 1997 Red River Flood Relief Concert, and many more.
In 2004 she released her debut recording with her quintet (entitled Reaching) on the Boat House Records label (Hugh Fraser’s label) after winning the Project COOL 2004 jazz competition which awarded her a $15 000 recording grant. The Michelle Grégoire Quintet featuring Kevin Turcotte, Kirk MacDonald, Jim Vivian and Ted Warren, completed an 11 city Canadian Tour in 2006. In 2010 she released a sophomore recording entitled Diversity. Both releases earned nominations as Outstanding Jazz Recording at the Western Canadian Music Awards.
In 2007 Michelle was commissioned by the Manitoba Chamber Orchestra and the CBC to create a suite for jazz trio and string orchestra. In 1998, she received a Manitoba Arts Council Commission and Development Grant to compose a large scale work for the Winnipeg Jazz Orchestra which was recorded and released on the WJO’s self-titled CD. Her quintet was recorded by “Radio-Canada” for national broadcast on “Silence on Jazz” and her jazz orchestra works were recorded and performed by the WJO as part of a concert featuring Bob Brookmeyer and his music. She was featured as composer in residence at FSU and was featured in FSU’s prestigious International Festival of New Music. She also scored a film while at FSU which won a Student Emmy in the Musical Production category. She has received commission grants from the Canada Council for the Arts, The Manitoba Arts Council and the Alberta Foundation for the Arts.
https://michellegregoire.com/
Michelle has been very active in the francophone music scene working as musical director for various CBC and TVO radio and television productions such as “Le Chant Ouest”, “Les Prix Riel”, “Le Gala Manitobain de la Chanson”, “En Eclosion”. She was a houseband member for the TV series “Un air de famille”, The 1997 Red River Flood Relief Concert, and many more.
In 2004 she released her debut recording with her quintet (entitled Reaching) on the Boat House Records label (Hugh Fraser’s label) after winning the Project COOL 2004 jazz competition which awarded her a $15 000 recording grant. The Michelle Grégoire Quintet featuring Kevin Turcotte, Kirk MacDonald, Jim Vivian and Ted Warren, completed an 11 city Canadian Tour in 2006. In 2010 she released a sophomore recording entitled Diversity. Both releases earned nominations as Outstanding Jazz Recording at the Western Canadian Music Awards.
In 2007 Michelle was commissioned by the Manitoba Chamber Orchestra and the CBC to create a suite for jazz trio and string orchestra. In 1998, she received a Manitoba Arts Council Commission and Development Grant to compose a large scale work for the Winnipeg Jazz Orchestra which was recorded and released on the WJO’s self-titled CD. Her quintet was recorded by “Radio-Canada” for national broadcast on “Silence on Jazz” and her jazz orchestra works were recorded and performed by the WJO as part of a concert featuring Bob Brookmeyer and his music. She was featured as composer in residence at FSU and was featured in FSU’s prestigious International Festival of New Music. She also scored a film while at FSU which won a Student Emmy in the Musical Production category. She has received commission grants from the Canada Council for the Arts, The Manitoba Arts Council and the Alberta Foundation for the Arts.
https://michellegregoire.com/
This project was made possible by The Canada Council for the Arts, along with additional support from the SOCAN Foundation, the Shevchenko Foundation, Manitoba Arts Council and Winnipeg Arts Council.
We acknowledge the support of the Canada Council for the Arts
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