The Sam Taylor Quartet Featuring Larry McKenna - Saturday, January 25th 2020

“Patiently and lovingly devotes himself to the song…Nothing but rapt attention to the song, to melody, to the way a great artist can make us feel” – Michael Steinman, Jazz Lives

Hailed by All About Jazz as "wise beyond his years" and "remarkable" by Toronto Music Report, Philadelphia native, New York-based saxophonist Sam Taylor brings one of his heroes, saxophone legend, Larry McKenna, to BuckingJam Palace on January 25, 2020. Philadelphia tenor saxophonist Larry McKenna has played with Rosemary Clooney, Frank Sinatra, Tony Bennett, and countless others. Sam Taylor released his second album, Along The Way, featuring Larry McKenna in November 2017. Joining them are two top tier New York musicians: Grammy Award winning bassist Paul Sikivie and drummer Pete Van Nostrand.

Featuring:

Sam Taylor – tenor saxophone

Larry McKenna – tenor saxophone

Paul Sikivie - bass

Pete van Nostrand - drums

For ticket information please visit www.buckingjampalace.com or the BJP eventbrite page.

 

Sam Taylor’s true jazz education began during his three years at Philadelphia’s High School for Creative and Performing Arts. Immersed in the deep tradition of Philadelphia’s jazz community, Taylor studied and performed with Chris Farr, Matt Levy, and Len Murphy. Dedication and love for music extended into the summer months, where he participated in distinguished programs: The Tanglewood Institute, Berklee College of Music Summer Jazz Workshop, The School for Improvisational Music, and Pennsylvania Governor’s School for the Arts. After receiving The Dennis Sandole Foundation Jazz Award, publishing in The Philadelphia Inquirer, and performing with exclusive ensembles in all major venues of Philadelphia, Sam left at the age of seventeen for New York City.

In 2001 Sam began his studies at Purchase College State University of New York. The next four years proved crucial to Sam’s development, with classroom and bandstand mentoring from Todd Coolman, Ralph Lalama, Jon Faddis, Javon Jackson, Pete Malinverni and John Riley. Quickly recognized for his talent and dedication, Taylor was given an opportunity to perform in Groningen, Holland as a guest soloist with the The Noord-Nederlands Conservatorium Symphonic Jazz Orchestra. Other performance highlights included an awards ceremony for Dave Brubeck at The National Arts Club, premiering his compositions with Jon Faddis at the Central Presbyterian Church of New York City, and performing in an eightieth birthday celebration for James Moody at The Performing Arts Center. This performance with James Moody was particularly exciting, playing to a packed theatre with saxophone legends Jimmy Heath, Frank Wess, Joe Lovano, Steve Wilson, Mark Turner and Ralph Lalama.

Since graduating in 2005 with a Bachelor of Music, Cum Laude, Sam has become an active member of the New York City jazz community. Featuring his own projects and collaborations, he has performed at numerous venues including Smalls Jazz Club, The National Arts Club, Cornelia Street Cafe, Fat Cat, and Webster Hall. Taylor can be found playing throughout the week at steady engagements in Hamilton Heights, Harlem and Midtown Manhattan. In addition to his busy performance schedule, Taylor also serves as artistic director for The West Harlem Jazz Festival

Taylor’s debut recording, My Future Just Passed, (released on Cellar Live, August 2015) was hailed by the Toronto Music Report as a “remarkable release”, with All About Jazz describing his playing as “wise beyond his years”. It features the masterful Taro Okamoto on drums along with bassist Aidan O’Donnell.

Along The Way, Taylor’s second album was released on Cellar Live, November 2017 featuring saxophone legend, Larry McKenna along with a top tier New York rhythm section: Jeb Patton, piano; Neal Miner, bass; Pete Van Nostrand, drums. In celebration of the release, Taylor performed along side Larry McKenna for two nights at The TD Vancouver International Jazz Festival 2018.

Larry McKenna is one of the world’s finest jazz saxophone players. He is known for his gorgeous, velvety sound, the unparalleled beauty of his balladry, and his fluid, bebop-inspired improvisations. For years, Larry’s status as a jazz great has been affirmed by his myriad fans and the jazz stars with whom he has played and recorded including Woody Herman, Clark Terry, Buddy DeFranco, Tony Bennett, Rosemary Clooney and Frank Sinatra.

Larry also is one of the most sought-out saxophone and jazz theory teachers in Philadelphia. He has taught countless students at University of the Arts, Temple University School of Music, West Chester University, Widener University, and Community College of Philadelphia. Many of his students have pursued successful careers in music. Larry’s influence, spanning decades, can be said to have established a Larry McKenna school of saxophone playing in the Philadelphia region.

In addition to being a frequent guest on recordings by other top jazz players, Larry has released three CDs under his own name to widespread critical acclaim. His most recent CD, “Profile” (Dreambox Media 2009), mixes jazz standards with Larry’s original compositions, including the lovely and poignant ballad “Perhaps This Wintertime” with lyrics by Melissa Gilstrap, premiered by vocalist Nancy Reed. His earlier CDs, “It Might As Well Be Spring” (Dreambox Media 2001) and “My Shining Hour – Music of Harold Arlen” (EPE Records 1995), received praise from jazz critics across the United States and Canada and remain in demand.

Music arranged by Larry McKenna has been performed on “The Tonight Show” with Johnny Carson and in the Nicholas Cage movie “Birdy,” in which Larry played and appeared. He has published many jazz-oriented arrangements for school concert bands which can be purchased from Northeastern Music Publications.

Larry resides in Philadelphia, Pennsylvania with four cats (the feline variety).

 

BuckingJam Palace Winter Concerts!

Our Fall 2019 season at BuckingJam Palace was a success! There was lots of great music to be heard and many new friendships made. Thank you for your continued and enthusiastic support. Fortunately, we are just getting started! After a busy October and November we are taking a bit of a break but will resume with more great jazz concerts starting again in January 2020.

Here's a summary of what's coming up for Winter 2020 and what you can expect to hear at BuckingJam Palace:

January 19th, 2020

Adrean Farrugia & Joel Frahm

 

Toronto pianist Adrean Farrugia and New York tenor saxophonist Joel Frahm will be appearing as a duo on Saturday, January 19th, 2020 at BuckingJam Palace for two shows (2pm & 8pm).These two world-class musicians will be stopping in Calgary while touring Western Canada, performing music from their duet recording Blued Dharma.

Award winning pianist and composer Adrean Farrugia is one of Canada’s most distinct voices on the piano. Since the late 1990s Adrean has been in high demand as a freelance performer and educator. Keeping a busy touring schedule, mainly as a sideman, Adrean has toured extensively across Canada and the United States as well as in venues across Europe, Australia, the UK, Israel and in Japan. As a leader Adrean has released four albums. His second album Ricochet was nominated for a 2011 Juno award for best contemporary jazz recording. As a composer Adrean has penned more than 30 works to date.

Born in Racine, WI in 1969, tenor saxophonist Joel Frahm attended the Mason Gross School for the Arts and earned his B.A. in Jazz Performance at Manhattan School of Music. He released three highly regarded CDs on Palmetto: The Navigator, Don’t Explain (with Brad Mehldau), and Sorry No Decaf. Don’t Explain, his latest, was the number one jazz release for radio play in the United States for two consecutive weeks in 2004, according to jazzweek.com airplay chart and also reached number one on college radio for one week, according to College Music Journal’s airplay chart. Joel was also recently selected in DownBeat Magazine’s Critics Poll as a Rising Star in the category of tenor saxophone.

Having made a name for himself through his associations with singer Jane Monheit and boyhood friend, pianist Brad Mehldau, Frahm hones his own voice on this breakout recording. Joel has also worked with a vast array of musical peers and jazz legends including Maynard Ferguson, Betty Carter, Matt Wilson, Larry Goldings, Dewey Redman, Lee Konitz, Kurt Rosenwinkel, Andrew Hill, Ben Allison, Pat Martino, Ingrid Jensen, Dena Derose, the Vanguard Jazz Orchestra, Kyle Eastwood and many others.

Featuring:

Joel Frahm - tenor saxophone
Adrean Farrugia - piano

 

January 25th, 2020

The Sam Taylor Quartet featuring Larry McKenna

 

Hailed by All About Jazz as "wise beyond his years" and "remarkable" by Toronto Music Report, Philadelphia native, New York-based saxophonist Sam Taylor brings one of his heroes, saxophone legend, Larry McKenna, to BuckingJam Palace on January 25, 2020. Philadelphia tenor saxophonist Larry McKenna has played with Rosemary Clooney, Frank Sinatra, Tony Bennett, and countless others. Sam Taylor released his second album, Along The Way, featuring Larry McKenna in November 2017. Joining them are two top tier New York musicians: Grammy Award winning bassist Paul Sikivie and drummer Pete Van Nostrand.

Featuring:

Sam Taylor – tenor saxophone
Larry McKenna – tenor saxophone
Paul Sikivie - bass
Pete van Nostrand - drums

February 20th, 2020

Harrison^2

 

Harrison^2 (Harrison squared) is a Toronto-based modern jazz quartet that features two up-and-coming instrumentalists, Harrison Vetro and Harrison Argatoff, alongside two mainstays of the Canadian jazz scene, Mike Murley and Steve Wallace.

The group hatched from a chance encounter between Vetro and Wallace in early 2016, at the University of Toronto, while Vetro’s drum teacher (Nick Fraser) was on tour.  Wallace was asked to sub in for a lesson, with the aim of offering his wealth of experience and some new perspective. Argatoff was invited to join them at the end of the lesson and play some music as a trio. The band formed in September 2016, when the two Harrisons landed a gig at The Rex in Toronto and asked Mike Murley and Steve Wallace to join them. Harrison^2 is touring across Canada in the winter 2020, in support of their debut full length album.

Featuring:

Harrison Vetro - drums
Harrison Argatoff - tenor saxophone
Mike Murley - tenor saxophone
Steve Wallace - bass

March 21, 2020

The Claire Devlin Quartet

 

Originally from Ottawa, Ontario, Claire Devlin is a Montreal-based saxophonist and composer. In 2012, she was the recipient of the Rising Young Star award at the Prince Edward County Jazz Festival, as well as receiving a scholarship to attend McGill University. Claire graduated from McGill in 2016 with a degree in Jazz Performance, having studied with musicians such as Chet Doxas, Rémi Bolduc, Frank Lozano, and pianist Jean-Michel Pilc. She also attended the Banff Jazz & Creative Music Workshop in 2017, where she met and studied with many wonderful musicians including Vijay Iyer, Linda Oh, Tyshawn Sorey, Jen Shyu, Gretchen Parlato, and Gary Bartz.The Claire Devlin Quartet performs at BJP on March 21, 2020, featuring music from their newly recorded debut album.

Featuring:

Claire Devlin - saxophone
Roman Munoz - guitar
Mathieu McConnell-Enright - bass
John Buck - drums

For ticket information, please visit the BuckingJam Palace website www.buckingjampalace.com or the BuckingJam Eventbrite page to purchase tickets.

This Saturday: The Lorna MacLachlan Quintet!

Calgary-based pianist, vocalist and composer Lorna MacLachlan appears at Calgary's BuckingJam Palace with her quintet this coming Saturday, November 9th (8pm).  She will be performing original music from her recent album Bicycle Riding in the Dark which was recently nominated for the 2019 Best Jazz Recording by the YYC Music Awards.

Lorna MacLachlan has been writing, arranging, and performing her own music for over 3 decades. “I’ve always written, it is my instrument”, explains the composer. She pursued composition and studied at the University of Calgary with Gregory Levin, Marilyn Engel and Allen Bell, to name a few but in her last year of her graduate degree she became very interested in combining the structure of “Art music and Electronic music” with the freedom of improvisation.

After completing a graduate degree in Composition and theory she embarked on a career as a composer providing award winning original music for Theatre, Dance and National media companies (CBC, Access Network) as well as a variety of commercial and artistic enterprises across the spectrum of music genres. She has recorded five full length albums of original music and has had support from FACTOR, the Alberta Foundation for the performing arts as well as the Canada Council. She continues to work on commissioned pieces for various groups but much of her focus today is writing for her quintet. This group has been performing together for 20 years with very small changes in players. Robin Tufts (drums), Richard Harding (Saxophones), Andre Wickenheiser (trumpet) and Jeremy Coates (bass) help bring Lorna’s instrumental and vocal pieces to life and to supportive audiences.

As well, Lorna has always been passionate about music education and believes strongly in helping to develop the talents of the next generation. She has taught privately as well as for the public and private school boards and has been recognized nationally for her dedication to excellence in music education.

For ticket information please visit:
https://www.eventbrite.ca/e/lorna-maclachlan-tickets-67876898631

This Friday: Jodi Proznick's "Sun Songs"!

Vancouver bassist and composer Jodi Proznick will be appearing at BuckingJam Palace this Friday, November 1st for an evening of music featuring her original compositions. Proznick was recently named the 2019 "Jazz Artist of the Year" by the Western Canadian Music Awards.

Jodi Proznick (bass) will be joined by:

Katherine Penfold - Vocals

Jerrold Dubyk - Tenor Saxophone

Jon Day - Piano

Jon McCaslin - Drums

Here's an older radio interview with Jodi Proznick, on CBC's Jazz radio program Hot Air hosted by Margaret Gallagher, which was done in advance of Coastal Jazz's Women in Jazz series:

https://www.cbc.ca/player/play/2684514508

*Remember, if a concert is sold-out, make sure to inquire via e.mail in case any tickets come free at the last minute. And don't forget to sign up for the BJP e.mail list to receive up-to-date notices on ticket sales (so you don't miss out on these incredible concerts!)

Interview with Lorna MacLachlan

Pianist/vocalist Lorna MacLachlan and her group of local Calgary artists will be performing her original compositions at BuckingJam Palace on Saturday, November 9th 2019 (8pm).

Lorna was nice enough to take some time out of her busy schedule to answer a few questions about her music and art in advance of her November concert.

Tell us about your musical backgroud? How did you learn to play Jazz? What is your education?

I studied piano with, arguably, Calgary’s best piano teachers - Peter Walker, Marilyn Engle, and a few others. I studied classical piano and composition with the intention of doing a double major at the University of Calgary but Composition grabbed me and I spent more time writing than practicing  (I actually started writing when I was about 12 years old). I finished a Masters in Music in Theory and Composition and then wrote professionally for everyone and anything. That is not easy in Calgary as there were very few opportunities. I wrote for Theatre Calgary, Decidedly Jazz Danceworks, Lunchbox Theatre, Springboard Dance collectives, Access network television, CBC, etc.

I loved writing but I found it difficult to balance that life with my family (ie. you cannot say NO to contracts or they dry up) so I went back to school after 10 or so years and completed an education degree. I landed an amazing first job at Western Canada High School upon my graduation and taught Choral music and Jazz Band for 15 years. I think we all had an amazing run but then it was time to move on. I went to a small private school for a few years and before returning to the Calgary Public School Board. I loved every experience I had and that is no small feat. Teaching is very challenging and it is not getting easier. It is, however, one of the most purposeful jobs I have ever known. I retired from teaching this year, after 24 years, so that I can pursue writing and playing full time.

As a “classical” musician I was pretty square but I loved Bartok (thank you Marilyn) mostly because of his crazy rhythms. As a writer I emulated his rhythmic ideas in string quartets, solo compositions and choral music. As a player I became more interested in learning about improvisation as I was also quite heavily into electronic music in my last few years at U of C. There was a great electronic music lab at the University - and a Fairlight computer (you may not know what this is but suffice it to say that the pioneers of electronic classical music made it possible for those crazy keyboard racks in the 80s). I found by combining the heavily structured and programmed electronic music with improvisation you could bring life to music that may feel a bit contrived. Keeping in mind that programming these computers was not the same as the super friendly computers of today. I remember programming a piece of music that took about 3 hours and lasted about 10 seconds and sounded like a fridge being plugged in and unplugged and then plugged in… I think you get my drift. Improvisation was so life giving in combination to this.

I wanted to know more. I joined a band and played keyboards. Then I started programming bass lines and playing live with computers and other live musicians. I never wanted to be a Pop/Rock musician, I just wanted to learn more about something I didn't know. I gravitated to a funkier/Jazzier side of things - Prince was inspiring (Sign of the Times), Peter Gabriel (everything), Sting (Dream of the Blue Turtles). I loved their work. The first CD I wrote was called Jigsawand I was given the support of a FACTOR grant (1988). I felt like I was really on the right track!

Worst album I ever recorded.

Biggest budget I ever had.

Greatest learning experience of my life.

Fortunately for everyone it is no longer available.

The second CD was called Two Trees. It was almost 20 years later and since then I have not stopped. I have written and produced 6 full length studio albums and, in my opinion, they get better with each one. (Jigsaw, Two Trees, Telegraphy, Time 4 Change, Feet on Ground, Bicycle Riding in the Dark). That is the point of recording for me: It is a document of where I am and what I have learned and that may or may not be of interest to anyone. As a teacher, artist and as a person, I am most interested in learning. In connecting and discovering what motivates me and how to take that information and make beautiful connections through music, language and relationships.

I have had the honour and privilege of studying with so many amazing teachers. Inspiring teachers. Incredible role models.

I include the inspiring teachers right here in Calgary: David Ferguson, Peter Walker, Greg Levin, Marilyn Engle, Michelle Gregoire and in other cities: David Braid, Kenny Wheeler, Don Thompson, Phil Dwyer, Maria Schneider. I could go on for the numerous opportunities that all the Jazz Educators conferences awarded me in Toronto, New Orleans and New York but I’m sure you are bored with this list already.

I spent several weeks flying to Toronto to study with David Braid. He would set me up in a practice room, give me a month’s worth of work and then meet me the next day to see what I might have accomplished. I sincerely hope to continue my studies in Toronto.

I have also learned a great deal from the musicians I get to play with: Robin Tufts, Richard Harding and Andre Wickenheiser - Very smart and talented players. The learning continues.

Who are your influences?

Bach (J.S.), Mozart (W.A.), Igor Stravinsky, Bela Bartok, Brad Mehldau, Bud Powell, McCoy Tyner, again, David Braid, Dave Holland, Maria Schneider, Amina Figarova, Joni Mitchell, Blossom Dearie to name only a few. All the guys in my band.

How do you approach composing music?

Well, yes, how do I approach composition?  When it is my choice  -patiently, reluctantly, regularly (there are times when it approaches me but those are not as common as the times I have to approach it).

I think about Kenny wheeler when he was explaining his approach to writing. It is exactly as I dream I would like to write, that is: You wake up at a reasonable hour (say, 6:30 am), you go to the piano with a strong coffee and play for a couple of hours. You then shower, pour another coffee and get to work. If you’re lucky, the work will lead to an amazing inspired thought around 6:30 pm, if you’re not, you probably got a lot of work done on the last inspired thought you had.

I always like to have three (minimum) pieces on the go. This helps keep me motivated.

My life and work has not looked exactly like this.  Most of my writing has happened at the end of a very long day or on a weekend. That said, however, I am working toward making it like the above dream.

I do believe being a composer involves the same kind of work as being a great pianist: you need to practice everyday and much of the work is not as inspiring as one would hope. You write all your garbage down (don’t worry, you can throw it out later). There can be great inspiration in the work you think is nothing and, by the same token, the work you think is awesome today may sound like crap tomorrow. Compositions need to breath and editing is key. This is a very important point for me! In the early years, I often believed that my work was a bit of a gift from the heavens: sacred. After years of study with some incredible teachers, I learned that there is much to learn and that your first draft is - exactly that - a draft. A composition is what is created when you take an inspired (hopefully) idea and work it out. This is often, labour intensive and I, like most people, don’t want to work that hard. I have to admit, though, I am pretty disciplined. Sometimes I think that has come about because I have limited talent. That statement right there does not usually help me sell CDs on my website but sometimes it FEELS like it is true. Now, I would not normally disclose this but this is not an original thought. In fact, one of the most talented (or perceived as such) artists I know told me this: “If anyone knew how hard I worked, they might think I have no talent at all”. This is my mantra.

There is also another necessary factor that makes writing important enough in your life to keep you going - for me, it is my voice. For me, I write to know myself better. This does not happen in a year or two. Through composition and improvisation I feel I have a direct line to my subconscious. Most artists I know are more interested in figuring out what motivates, captures, connects people and occasionally what entertains (but generally less of the later). Most artists I get to hang with are the most insightful, aware people I know. This can be challenging in a world that does not recognize awareness as much as money and fame but to the artist, this becomes more valuable.

Teaching is very much like this. Especially when you are inspiring students who may otherwise never have the opportunity to learn the value of great art. Of course I believe that teachers are incredibly underpaid and overworked as they inspire , and often, parent each new generation.

What is your concept for your own group and what repertoire will you be performing?

I’m not sure I have a specific “concept” for my group. I write music that is inspired by life and I arrange it with these players in mind. I love bass lines, in general, so I love working with Jeremy Coates because he is not only incredibly competent but incredibly musical. I love Robin Tuft because he is the most creative drummer I know and I love writing for two horns and I feel so lucky to have these particular two horns. I have a good idea how Richard Harding and Andre Wichenheiser play individually and how they play together. They, along with the rhythm section have a beautiful connection and really bring my ideas to life. There is a great deal of mutual respect in the group.

I am not really interested in virtuosity, however, when players are as competent this, I know it is fun to challenge each other at times. Some of this music is not easy but we work through it and these players make it sound effortless. I feel the freedom to write anything and I know they will be able to not just play it but to interpret it with the meaning I intended.

The core of this group has been together for a long time. I feel we respect each other as players and, more importantly, as people. We have all been through challenging times and we have all been there for each other. This connection is at the core of the music I want to make.

What are your future plans with this project and what other projects are you planning in the future?

I plan to keep writing. My objectives in the next year are to get better as a player (I have a trip to Toronto in the works). As long as I feel I have something to say, musically, I will continue to write. When I have nothing to say, I will stop.

I always think the latest recording will be my last but that what I though 5 or so recording back so I never know. If I write 15 or 20 tunes that I think are stunning and need to be recorded, I guess I will find the money to do another CD.

In my dreams, I would like to do a European tour (without using up all my savings). We’ll see about that.

What advice do you have for students who are interested in pursuing a career as a music educator?

To those students who are thinking of teaching music here is my advice:

1) You better be passionate about your area in music and a few other areas in music as well as in other subject areas. Stay playing and practice. When you get to the place where you can’t play anymore your are not as effective as you think. Take some lessons. I have always been pretty fortunate in that I taught predominantly music for my career - this does not happen as much anymore. You need to KEEP yourself feeling passionate about music and if you stop feeling that way you need to inspire yourself to keep the passion going (i.e. keep playing, take a class, join a performing ensemble, start a band). All the inspiration you create for yourself continues through you to your students. If you are teaching choral music and you don’t feel anything - stop. I know that sounds harsh but if you are not teaching passion and emotion through music, what are you teaching?

2) Don’t teach your students to become entertainers  and don’t fall into the habit of entertaining them. - they get enough of that everyday in this society. Teach them something they don’t already know - that’s your job. The beauty of Bach and Mozart. Who?

3) Teaching is challenging but it is one of the most purposeful occupations you will ever know but only if you keep learning.

4) The most important line I was told by an amazing educator - “remember, you will outlive your administration” I don’t even know if that is relevant here and it may sound radical but I never forgot it and it saved me on more than one or two occasions - it is true.

5) Relationships with other teachers are important but the most important relationships you have are the ones you develop with the support staff in your school (your administrative assistant /secretary does more work for you than you will ever know) The care taking staff are people with complex lives. The last caretaker I had was a cardiac surgeon who could not practice in Canada - don’t assume anything.