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How to Select a Great Music TeacherClark Bryan Executive Director

“If I were not a physicist, I would probably be a musician. I often think in music. I live my daydreams in music.

I see my life in terms of music... I get most joy in life out of music.”

- Albert Einstein

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After writing an article about Music Festivals, Competitions and Examinations for our last edition of The Aeolian, I felt compelled to begin launching new ideas to add to or re-place our current music education system. I was recently asked to become the President of the London Branch of the Ontario Registered Music Teacher’s Association. Having accepted this honour, I am further committed to bring music education into more public awareness.

In this edition of our newsletter I would like to discuss what qualities make great music teachers. Parents are often perplexed as to how to decide which teacher would be a good fit for their child. Their peers often propose a teacher with whom that peer’s children study and as a result, parents don’t get a chance to survey the market. Many a budding young musician’s expression is cut short by making the wrong fit when it comes to a teacher. This may sound familiar to many of you who had the opportunity to take lessons in your youth. “If only I could have had a more encouraging teacher”….”My teacher told me I was not talented”….”I hated Examinations and Festivals and don’t want to play any more: music study equals stress!”

Today’s children get very little “one-on-one” attention. In today’s busy world, children need this type of focus. The Private Music Lesson is a great opportunity for this type of interaction.

Professional qualifications are one important component when choosing a teacher. Qualifications may entail not only degrees and diplomas but teaching experience and professional development through continued studies and performing. There are many teachers who have PhD’s in music that are poor teachers and teachers who have no professional diplomas who are extremely gifted teachers. In smaller communities, there is sometimes only one music

teacher who may only have limited qualifications. So how relevant are professional qualifications? These qualifica-tions are a testament to certain specific studies and levels attained which often give a greater perspective and skill bases to a teacher. Investigating the exact qualifications and experience of a teacher is an important beginning point. For example, if a teacher has a music degree spe-cializing in musicology, they may not be as good a choice as a teacher who has a degree in music pedagogy.

Teaching experi-ence is another important crite-rion when making choices. Young Teachers fresh out of college, university or other professional studies will often bring new ideas and great en-thusiasm to their teaching, but will

not necessarily have a seasoned way of interacting with students of varying personalities and abilities.

Measuring a teacher by the testimonials of others is an-other good way to add to your research . Be sure to get lots of testimonials. A teacher should be able to provide references for this. Keep in mind that the most important factor to weigh is not the outcome of the highest marks in examinations or the winning of festivals, but the overall skill base of the student and their enthusiasm for their studies. We want students of music to develop a life-long love for this art form and continue to play and enjoy music for the rest of their lives.

Be sure that the program proposed for your son or daughter is tailor fit to them and not a pre-packaged

Issue No. 4 July 2010

“All that is valuable in human society depends upon the opportunity for development accorded the individual.”

- Albert Einstein

The Aeolian Hall Newsletter July 2010

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homogenized system. One size does not fit all when it comes to education. A teacher/parent/student interview is a must to ensure that the parent is clear on the teaching approach and that there is a good personality mix between the student and the pupil. Remember that the partner-ship is not only between the student and teacher, but also between the parent and student as well as the parent and teacher.

Here is a short list of questions to a prospective teacher:

Do you feel my child is ready for music lessons? (this 1. may involve an informal testing session)What is your teaching philosophy?2. What is your musical experience?3. What is your performance experience?4. What type of professional qualifications do you have?5. What is your teaching style?6. What type of program do you offer? (i.e.: theory, history, 7. playing by ear, reading skills, style of music, physical technique of playing the instrument)Can I shadow a lesson while you teach?8. Can I attend a recital of your students?9. What type of program of study do you propose for my 10. child?What types of goals do you have for students (ie; ex-11. aminations, festivals, competitions, recitals)?What is your studio environment like? Is it comfortable 12.

for my child and is the equipment of good quality ( i.e.: pianos)?How do you convey progress reports to both students 13. and parents?What is the expectation for practicing at home? How 14. long should the practice sessions be and what should my role as the parent in these sessions look like?What is your fee and teaching policy?15. Do we need to purchase materials for the lessons?16.

A good resource to discover private music teachers is The Ontario Registered Teacher’s Association or ORMTA

(ormtalondon.org). All of the teachers in this directory have professional qualifications and have had to pass certain screening processes in order to get on this list, including teaching experience.

The mission of this organization is: ``to promote excellence in music education, to promote a lifelong love of music in our students and to provide fellowship and professional growth among members”.

Art by Kim Harrison (left) &

Anya Romanenko (right)

Penn Kemp Performing

At The Aeolian! 6 PM August 1 Dream Sequins:

A Sound Opera for Midsummer Soirée featuring Penn Kemp,

Bill Gilliam and Brenda McMorrowfollowing The Aeolian`s 6th Anniversary Gala & Art Exhibition Opening (2-5 PM)

Part of our Summer Soirée.

We’re in the green room rehearsing Dream Sequins at Aeolian Hall, papers scattered about, but the piece is coming together magically when Clark comes through, inviting me upstairs for a casual snack. As I follow him into the hall, sunlight streams into the hall, lighting the Black Madonnas into radiant Life. The shutters are thrown open. The entire hall is alive with refracted light that sparkles crystalline in a vibrating web of energy. Clark agrees that the hall is sacred space, resonant with possibility. Its a nexus, a new Jerusalem. As Clark opens a small door on our left to his apartment, a gorgeous, gigantic Monarch butterfly with a fluid swallow tail attracts my attention. One leg is caught in the rafter by a dense cobweb. Turning to the tall blonde woman who suddenly appears on my left, I ask if she can cut it free. She flashes a curved knife, long enough to loosen the webbing, though some guck is still stuck to its leg. I hold out my index finger and the butterfly alights. It’s attracted, I laugh, to the residue of jam I’ve just been eating. The butterfly rides with me up the narrow but sunlit spiral staircase. The buttery wood is beautifully carved in warm maple, a shell’s whorl, leading us up. A shell to sound. A breeze to blow throughout the Hall.

Creative Contributions Sounding The Aeolian A Poem by Penn Kemp

The Aeolian Hall Newsletter July 2010

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Aeolian History

Unlike the Hotel California, once you have entered and enjoyed “The Aeolian Hall experience” you are allowed to leave, but you will always come back. Having volunteered here for nearly 4 years I have come to understand what makes this venue such a memorable experience for performers, patrons and volunteers alike. No matter what, when one leaves a show or event, you just feel good!

When Clark Bryan bought the Hall in July 2004, it certainly did not look like it does today. The meticulous, hard work by Clark and countless volunteers has transformed the hall into a comfortable space to play music, perform plays and host numerous community events. In recent years Clark’s partner Bryan Gloyd, a successful jazz pianist has contributed significantly in terms of improving how the bar operates. He also spear headed a much needed overhaul of the previously ghastly Green Room. It’s not surprising that renowned Canadian Performers call to book the venue as they hear the Hall’s acoustics are possibly the best in Canada. The high open ceiling and “curvaceous” back wall in the Hall together with a state of the art home PA system creates a sound phenomenon that has been receiving a positive reputation around Canada. I have often heard performers talking to their band members or just saying out loud “Wow, I love this place” when they are doing sound checks. The word has also spread that the hall’s atmosphere is cosy and that our audiences are receptive to live music of all genres.

Renovating the property has had its challenges as it is hard to find a straight wall. Once you open up an area you may need to do more work than expected. We are all aware that the hall which is a London Heritage Building was built in 1883/4, and she requires a respectful and careful touch when upgrading occurs. Its Nineteenth Century architecture is quaint from both the outside and inside views. Clark and Bryan plus volunteers have created attractive front and back garden areas surrounded by fences where there was once only asphalt and garbage blowing around in an open area beside the hall. In 2007, the hall’s exterior walls underwent a face lift with minor plastic surgery which including exterior caulking followed by a few coats of paint. The final touches were securing the creaking eaves troughs and cleaning the windows. People who had driven past the Hall on Dundas Street for years, suddenly stopped as they noticed the Hall. “Was this hall always here?” we were asked. “We have never noticed it before”. A user friendly recycling/garbage hut was built

in the parking area 2008. Best practices in recycling and using eco friendly bio degradable cups in the bar have also been implemented. After Maude Barlow’s visit over a year ago the Aeolian has not sold plastic water bottles. Careful consideration is given when selecting which products will be used in the building or sold at the bar. Despite Clark and Bryan getting the thumbs up from patrons for their environmental initiatives, they are always open to hear where further improvements can be made.

In the early days of renovations, Shmuel Farhi generously allowed Clark to take what he wanted from within the Capital theatre before its interior was gutted. Much of the hall’s accessory charm such as the wall sconces, chandeliers, upstairs seating, wall displays are seeing new life again. The 27 feet of old bar that was on the third floor balcony in various sections has been slowly pieced together again for different uses. Sections were used to create the bar counter (2007), concession booth, front office counter (2008) and upstairs balcony bar (2010). Clark, Bryan and volunteers have stripped walls, redone drywall and patched holes in walls, painted walls, upgraded electrical outlets, laid down new floors in the lobbies, carpeted the back stairs, resurfaced the stage, decorated the windows, redone the 3 wall displays which now adver-tise future shows and some merchandise of artists who have performed in the hall. All this was done with Clark’s money, donations from patrons at the bar and local companies and volunteers pitching in with labour and materials. There has been so much done, but we know there is still so much to do....

An event that stands out for me was when Clark received delivery of his precious C7 Yamaha Grand Piano. He was so excited and still expresses his joy at being able to play such a perfect instrument. Many performers who have had the opportunity to play this piano (including Chick Corea)remark on how it is such a pleasure to play and this has caused some healthy piano envy amongst Clark and his fellow musicians.

Perhaps Clark’s greatest accomplishment is not tangible or measureable. Through his unselfish manner he has facilitated the opportunity for local Show Promoters and organizers of large London outdoor summer events to all work collaboratively under the Aeolian Hall’s roof. To see the obvious respect these leaders in the local art and music world have for one another and the way in which they work together towards a common goal is very heartening. We live in a world where an attitude of “what’s in it for me” can prevail within the Art’s community; here is someone who wants to share his stage with others. Clark invites them to be a part of the Aeolian Community so that diversity can be embraced and all people in this region of can benefit in the (continued on the next page)

One Volunteer’sRetrospective View Mary-Ann Jack-Bleach Volunteer

The Aeolian Hall Newsletter July 2010

Facebook Discussion: Your Memorable Moments at The Aeolian Last month we asked our Facebook Fans to submit their most memorable moments at The Aeolian, here are just a few of the responses we received. To read more, or to post your memorable moments at The Aeolian, visit us on Facebook (www.facebook.com/TheAeolian).

Heather Church posted: The Great Lake Swimmers cd release for Ongiara. Two Minute Miracles and Ohbijou opened. The room, the sound...I was in the second row, 2nd seat in, and I had a lump in my throat and tears welling up for the bulk of the show. I have never been so transformed by a performance. When I listen to the album, to this day, I can still picture the room exactly as it was.

Martha Stratford posted:When my son was about 9 years old, his Music School held their annual concert at The Aeolian Hall. When he got up to sing his piece, I will never forget the astonishment and pride that we all felt when we heard his sweet little voice. He is now 20 and has sung many different places but for the rest of my life I will always associate the beautiful Aeolian Hall with the memory of my son’s singing debut.

Marion Miller posted:I first played at the hall in 1972. Yes, I know, Clark you weren’t even born. There have been many, many concerts and all were special. For me, however on Jan 10 this year I felt something very strange and wonderful.I had just finished playing the ridiculously difficult Romp in F minor by Mark Narins The applause was so loud and then I stopped hearing it and instead felt these waves of energy coming at me from all those people. It was the best moment.

Maxine McCoy posted: My favorite memory at Aeolian Hall was when Michael Kae-shammer got off the stage, sat down beside me and put his arm around me. Awww

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process. It is not uncommon to see previous performers and successful Canadian artists volunteering their time at the Hall. Ian Davies and Louise Fagan are regularly seen at the hall with either their for profit or not for profit shows. Bringing diversity and different cultural events together and having their volunteers mix with ours makes it one big happy volunteer family. Clark has shared his belief that if the other show promoters succeed, as well as the Palace Theatre, local downtown and East Village restaurants, coffee shops and businesses, then the local economy will grow. He has publicly stated that there are enough people to fill the seats at each musical venue and if they all support each other and celebrate each other’s success, then everyone benefits and the Arts will not only survive, but thrive. On a personal note, while I was growing up in South Africa before coming to Canada, we didn’t have television until I was 16 years old. The radio was not informative about the political scene either. I can recall attending musicals and plays at the age of 17 and learning for the first time about the real facts surrounding the events during the darkest days of the apartheid years. Comedy, through the incredible performances of Pieter-Dirk Uys was in my mind the most powerful educator of South African politics. The SA government somehow didn’t appreciate the value of education through the Arts. Possibly some peo-ple have never thought of the Arts in this way either, but it is through the Arts (whether Performing or Visual) that one can be enlightened and moved to positive action and change. At the Aeolian in recent years, we have seen both The Performing and Visual Arts come together. Sometimes it feels to me as if the world’s different cultures and art forms have breathed life into the hall, and in particular through the Sunfest and local cultural community events. The hall has become a safe Community meeting place that allows people to share their music, express views and sometimes discuss difficult infor-mation or fund raise for many worthy causes. I have often left the Aeolian Hall shedding both tears of joy and sadness at what I have learnt or experienced there.

Clark is unique in that he can see the big picture as well as the smaller details, although his time frames differ from those around him when it comes to estimating completion of projects. Clark and Bryan do a lot of the work themselves, but rely heavily on volunteers to help with projects and to work during all shows. He has provided valuable learning opportunities for students from Western, Fanshawe and OIART. It is remarkable what has been achieved in these past 5 years, but thank goodness the Hall has obtained Charitable Status and is now operating as not for profit. This will enable Clark to obtain the much needed funding and help for the Hall that will ensure it will carry on well beyond his tenure.

I know that Clark has had people tell him many times that what he is proposing cannot be done. Well take a look at the Hall now with the incredible Black Madonna paintings by Marion Drysdale adorning the walls. Listen to the happy creative vibe that is buzzing around the office and Hall as we prepare for the summer season. It reminds me of a saying by Margaret Meade.

“Never doubt that a small group of thoughtful, committed people can change the world. Indeed, it is the only thing that ever has.”

795 Dundas St... London Ontario. Entrance is left of the main double doors at the Dundas St. and Rectory St. cor-ner offices.

Location

Office Hours10:00am-6:00pm Monday to Friday

Visit www.aeolianhall.ca for more informationAdvance tickets available online & through

The Aeolian Box Office 519-672-7950

Ticket InformationTickets are available for purchase by phone (Visa, MasterCard) or in person (Visa, MasterCard, debit, cash).

You can also purchase tickets online at www.ticketscene.ca. There is an extra service charge by Ticketscene for this service.

Tickets can be picked up at any time before an event, during our office hours. Tickets can also be retrieved at Will Call when the doors open for the event, which is usually one hour before show time.

Contact InfoPhone: 519-672-7950Fax: 519-675-0614E-mail: info@aeolianhall.ca

www.aeolianhall.ca

www.facebook.com/theaeolian

www.twitter.com/AeolianHall

www.flickr.com/photos/aeolianphotos

www.youtube.comuser/1LondonMusic

We’re Online!

Parking

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HCFF: Buck 65 $25 adv/$27 door

HCFF: Jason Collett $20 adv/$22 door

HCFF: Roya Wood $20 adv/$22 door

Pride Writers Showcase +2PM July 24 Matinee

$15 door

Brahms Violin Sontas: Mary Elizabeth Brown (violin) & Clark Bryan (piano)

$20 adv/$22 door

Inventions Trio feat. Bill Mays (piano), Marvin Stamm (trumpet) & Alisa Horn (cello) $20 adv/$22 door

Dream Sequins for a Midsummer Soiree featuring Penn Kemp with Bill Gilliam and Brenda McMorrow. $20 adv/$22 door

Power of Community: How Cuba Survived Peak Oil (Documentary Screening and discussion) Admission by Donation

Jeff Eames: Humanitarian Aid With Dignity Admission by Donation

The Complete Brahms Hungarian Dances: Clark Bryan & Marion Miller Piano Duet

$20 adv/$22 door

Prime Time Big Band wsg vocalist Gina Farrugia

$22 (includes light snacks)

Clark Bryan CD Release Chopin Nocturnes Sonatas 2 & 3

$20 adv/$22 door

The End of Suburbia (Documentry film screening and discussion) Ad-mission by Donation

From Broadway to Jazz featuring Rick Kish & Natalie Howard-Grant with guests $20 adv/$22 door

The Aeolian Hall Newsletter July 2010

Upcoming Events Calender

Buy any 3+ tickets for Summer Soire Events for $15 Each Summer Soirée Festival Pass $75

Summer Soirée Festival

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Art by Marion Drysdale (left) & Mary-Ann Jack-Bleach (right). See more at our Anniversary Gala & Art Opening August 1 2-5 PM, and around the hall during our Summer Soirée.

The Aeolian Hall Newsletter July 2010

Teacher ProfilesThe Aeolian School of Music is a vibrant core to the Vision and Mission of the Aeolian Performing Arts Centre. With highly qualified teachers and a growing student body, the school has doubled in size in the last two years. Lessons are offered in many instruments including piano, voice, guitar, violin, flute and trumpet. A variety of musical styles are taught including Classical, Jazz and Modern idioms. Music Theory, History and Pedagogy are also offered.

With the greatest hall in London just upstairs from the school, students have opportunities to perform on a stage which has been graced by some of the greatest performers in the world. We are featuring a few of our gifted teachers in this edition:

Kevin Love--Classical Guitar Keven Love has performed as a classical

guitarist from Los Angeles to Quebec City. He received his musical training at Los Angeles Valley College and the University of Southern California. He has also played in numerous master classes. Awards include the Ensemble Award from U.S.C., the Music Faculty Scholarship from L.A.V.C. and first place in the

L.A.V.C. Classical Guitar Association competition. In addition to his performance schedule, The award winning composer has maintained a thriving teaching practice for over 25 years, working one on one with students of all ages and coaching ensemble classes.

Catherine Gardmer-- Piano and Voice Soprano Catherine Gardner, a native of

Stratford, Ontario, began her vocal studies at the University of Western Ontario where she completed her Bachelor of Music in Voice Performance. She continued her education at the Peabody Conservatory of John Hopkins University where she completed her Masters

degree, followed by a Graduate Performance Diploma. She has earned several awards and honors including Young Artist of the Year (London Arts Plus)and the George Cas-telle Memorial Award (Peabody Conservatory). As well as performing, Catherine is an examiner with Conservatory Canada and maintains a busy studio of voice students in Stratford and at Aeolian Hall in London.

Mark Gardner--Voice Mark Gardner, Baritone, originally from Detroit

MI, graduated with a Bachelor of Fine Arts in Theatre and a Bachelor of Music in Voice from Wayne State University in 2001. In 2004 Mark received a Masters degree in Voice from the Peabody Conservatory at Johns HopkinsUniversity. Mark has been the recipient of

many awards including a Peabody Career grant and a Peabody talent scholarship. He served, for two years, as the Artist in Residence at the University of Maryland East-ern Shore, and currently teaches at a studio in Stratford, and London Ontario.

Marg Trethewey--Flute Marg Trethewey was born in Stratford, Ontar-io and grew up in Montreal. She is a gradu-ate of the Conservatoire de Musique de la Province de Quebec and has studied flute, recorders and early flutes in both Canada and New York with the likes of Merve Bauk-kargeon, Christian Larde, Jean-Paul Major, Hans Martin Linde and Morris Newman. She

has performed and taught in Montreal and Toronto, and has recorded with CBC radio and television. Since her return to London, Marg has been fortunate to teach a number of very gifted teachers and students at The Aeolian.

The school is assembling an instrument bank so that gifted students who cannot afford to buy a good instrument to study on will have access to one while studying at the school. If you have such an instrument at home and would like to donate it to the school, please let us know! We are also building a scholarship and bursary fund to inspire and assist students in the future studies. If helping students is your passion, we can offer tax receipts for donations to this fund!

“Without music life would be a mistake” Friedrich Wilhelm Nietzsche

Art Exhibition

Aeolian School of Music

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The Aeolian Hall Newsletter July 2010

When Clark asked to me do a piece for his Aeolian newsletter, I knew quite quickly that I wanted to continue the conversation started by Doug Bale in the last edition. That we need a new vision for the future of this city seems painfully obvious to me. Old ways of doing business are not producing the expected results; the economy is changing in fundamental and unsettling ways as the result of globalization and the vertical integration of our large corporations; the near certainty of significant climate change will visit catastrophic consequences on vast swaths of the world’s peoples; a declining resource base will pose significant extra costs on each of us and challenge our standard of living. For the first time, the generation coming up behind us –those born after 1980 – will have lives both shorter and poorer than ours.

Should we throw in the towel? Absolutely not! We’re not the first to live in such pivotal times, and we won’t be the last. Opportunities abound to refashion London in ways that will allow us to prosper in this changing world, to engage in the kind of radical rethinking that is necessary to accommodate ourselves to the new forces now loose in the world.

It is our responsibility to engage each other in courageous conversations about how we might do this. That we need to get out of our comfort zone seems obvious.We might begin with a conversation about the urban form of the city. Since the 1950s, the suburban development of our city has been largely determined by automobiles running on cheap fuel. Successful cities everywhere have come to the realization that uncontrolled urban growth im-poses costs on citizens – as residents and as taxpayers – that are simply not sustainable. At the very least, we need to move to a full-cost planning model where the true cost of providing all the services required for suburban expansion are paid by those in these areas. This is not about limiting choice for Londoners, or limiting growth either, but containing costs. That those who argue that how and where we grow the city is a legitimate matter of public policy are portrayed as being “anti-growth” is a classic straw man proposal. We desperately need a more creative conversation about growth management than this, as well as how we can encourage infill development and increased density in the city in ways which are respectful of the legitimate needs of existing neighbourhoods.

The synergies that result from the concentration of capital and entrepreneurship in cities drive our economy and cre-ate the jobs we need for the future. London has been forecasted to have annual population growth rates at or below 1% for the next generation. This is slow growth compared to other more successful cities in southern Ontario, and a cause for concern. As the regional capital

of south-western Ontario we need to do better, and we need to re-assert our leadership position in this part of the province.

Any courageous conversation we might have about creating jobs might begin with the proposition that in the new economy in which we find ourselves, and in which the best jobs are being created, it is critical to create a city in which new economy workers wish to live. If we create a liveable and sustainable city – with a vibrant downtown where people want to be, exciting public spaces, a broad range of artistic, cultural and recreational opportunities, a variety of housing types and tenures – we will have put ourselves in a much more competitive position. Perhaps we might begin to reverse the export of our young people to other, more creative cities. If knowledge workers wish to live here, then attracting new economy industries with their well-paying jobs will have been made much easier.

Conversations on the environmental initiatives it would behove us to undertake is a matter for another time. London is fortunate to have strong leadership in this area, both from city staff in Environmental Services and from a broad range of citizen groups.

How we arrive at that plan for the future, how we engage citizens of every stripe in the process of determining the next London, will be critical. And it needs to begin now. Greg Thompson is the founder of the Old East Village Com-munity Association. To contact him visit www.gregthompson.ca

Building the Next LondonGreg Thompson, Friend of the Aeolian

Many of you already know that we are fundraising for a new roof at The Aeolian. Quotes are still coming in for the project and thus we have not settled on an exact amount we need to raise. We can be sure that a minimum amount to raise is going to be at least $60,000.00! So far, we have raised $2100.

Let’s help keep the Aeolian alive for another 127 years! Please spread the word about our needs and see if we can together enjoy many years of community and arts presentation. We can give tax receipts for amounts of $20 and over.

For more information visit www.aeolianhall.ca

Fundraising for The Aeolian`s New Roof

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Throughout the year, a Sunfest ticket at The Aeolian gives Southern Ontario concertgoers a unique opportunity to experience la crème de la crème of world music & jazz. Come the second weekend in July, Sunfest transplants the heartbeat of the globe to London’s Victoria Park, where its garden of musical delights always reaches a new level of bountifulness.

TD Sunfest ’10 (July 08-11. 2010) is no exception – of-fering patrons another embarrassment of riches with more than 30 visiting ensembles, which feature styles as diverse as native Siberian Buryat rock (Russia’s Namgar) and hard hitting electronic pop melded with Indian Bhangra and Bollywood influences (the UK band Swami). There are some familiar faces from the past – shirt rippin’ Vancou-ver funksters Five Alarm Funk, Ivory Coast tour de force Dobet Gnahoré, German-born harmonica & vibraphone virtuoso Hendrik Meurkens and, of course, Lazo (aka “Mr. Sunfest”) – along with a record number of newcomers, including Orchestre Septentrional d’Haiti, the 13-member “fireball” that’s considered the Haitian equivalent of Cuba’s Buena Vista Social Club. This year, thanks to the generous assistance of the On-tario Ministry of Tourism’s Celebrate Ontario program, the festival is proud to present a new programming component entitled SUN OF THE EAST’10: A Showcase of Middle Eastern Music and Dance. Among the distinguished performers are Mamak Khadem (Iran/USA), one of the wonders of world trance music; Simon Shaheen (Pales-tine/USA), deemed the most significant Arab artist of his generation; and The Klezmatics, the Grammy Award-win-ning band from New York City. Also, London’s own Light of East Ensemble – another Aeolian and Sunfest audience favorite – makes a return appearance under the “Sun of the East” banner.

This summer, Sunfest has initiated relationships with sev-eral leading cultural agencies around the world, such as The Netherlands Performing Arts Fund (NFPK+), allowing festivalgoers to discover an outstanding roster of talent from the participating countries. Drums United (an explosive world-percussion group uniting members from seven different countries) and Uruguayan-born Beatriz Aguiar (dubbed “one of the most beautiful voices in Latin American music”) are two of the exceptional Dutch exports arriving for TD Sunfest ’10. Colombia is also well repre-sented this year with two spectacular headliners on the bill: Las Alegres Ambulancias del Palenque, a generations’ old folkloric group celebrating the South American nation’s

rich African heritage, and LA-33, a sizzling new salsa powerhouse from Bogotá.

Meanwhile, here at home, Sunfest is thrilled to partner with GALAXIE MUSIC on the Rising Stars Program, dedicated to discovering and supporting new Canadian talent at festivals across the country. Among the premier TD Sunfest ‘10 groups in contention for a Galaxie prize are Bambara Trans, Caracol, Gypsophilia, Jaffa Road, Mr. Something Something, Tambura Rasa and more.

For the jazz lover at Sunfest, WestJet’s festival sponsor-ship means that a stellar lineup of musicians from British Colombia’s Sunshine Coast will be shining for the first time at the Jazz Village Stage. You won’t want to miss the ‘Renaissance Man’ of the Vancouver jazz scene (Cory Weeds & his Quintet), nor the ace young trumpeter, ukulele player and vocalist with a love of big band jazz (Bria Skonberg). Other notables playing the Jazz Village are fast-rising contemporary pianist-vocalist Brenda Earle (Sarnia-born, but now based in NYC) and, from The Neth-erlands, the Boi Aki Trio w/ Monika Akihary, whose exotic musical concoctions blend Indonesian, Indian, West-African and European cultures on the one hand, and jazz on the other.

Sunfest music fans whose tastes run more to innovative Canadian singer-songwriters are also in for a treat. A star in the making is twenty-something but worldly-wise Alexandra Ribera from Toronto. Her wildly bizarre vocal range and eclectic writing style have led to comparisons ranging from Edith Piaf to Tom Waits to Joan Armatrad-ing. And there’s Caracol (formerly of the best-selling world fusion duo Dobacaracol), whom industry veteran Richard Flohil called his “best new discovery…a joyful, bilingual, charming and delightful singer from Quebec.”

Besides the electrifying music and dance on tap this July, the spirit of the sun can be felt in the wide assortment of tempting foods and authentic crafts available from more than 250 unique exhibitors lining Victoria Park. Whatever one’s preference – from delicious Persian Chicken Kabobs to the revered sounds of the Zimbabwean mbira and the Middle Eastern oud – TD Sunfest continues to offer Londoners and out-of-town visitors alike an unprec-edented opportunity to meet, and share experiences with, persons of many diverse backgrounds and interests. And, best of all, this is a world class festival that remains completely admission-FREE and accessible to everyone.

For more information please visit sunfest.on.ca. For complete festival details be sure to purchase a Sunfest Souvenir Program ($3) when you arrive in Victoria Park.

TD Sunfest ’10 Sizzles with a Record Number of Headliners from Around the Globe!By: Brian Hannigan Sunfest Communications Coordinato

The Aeolian Hall Newsletter July 2010

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“Jazz” is such an all-encompassing term that it often be-comes a grab-bag term that categorize a style that moves us, touches us, maybe confuses us. It is music that comes alive through the style of the performer – it changes every time it’s performed. It’s a pivotal part of our entertainment offering here at The Aeolian and there are many facets of it to be explored!

In our ongoing mission to be known as a centre for Jazz in Southwestern Ontario we look at three different areas that we can influence:

First, we have a wealth of talented local jazz performers that London needs to get to know a lot better. Vocalists and instrumentalists, many have honed their craft over years and built their fan base but are better known out of town than here. Till now London has not had a concert venue that would invest in our local stars. Our Aeolian local jazz series was built to do just that.

Then how about jazz greats ‘from away’? Well known jazz performers from out of town who have seldom or never played London. I’m thinking of up-and-coming talents such as Emilie Claire-Barlow or top Canadian talents like Don Thompson, Phil Nimmons, Guido Basso or Carol Welsman.

Who wouldn’t love an evening with these masters? Their agents are now regularly in touch with us – quite a turn-around from few years ago. They’ve heard the Aeolian is the place for jazz in London. Both Sunfest and The Aeolian see opportunities in bringing to London the wider world of jazz.

And then there is the wish list. Big fish we didn’t think it was possible to snag. Like top-tier jazz piano and compos-er great Bill Mays who plays with his Inventions Trio here later in July. And who would have thought we could bring in Chick Corea? Chick was a total gentleman when he was here in March and he urged us to dream big. Being so well connected to the top of the jazz world he offered to help in bringing in top performers. So just think about that…who would you really love to see? Herbie Hancock? Paquito DeRivera? Suddenly these concerts are possible!

Why exactly is the word out in Canada that The Aeolian is a must-play venue for jazz? Without fail, the performers comments to us are the same. An appreciative, respect-ful, attentive audience. Acoustics the performers instantly hear as alive and vibrant. The best piano ever! A feeling of intimacy between performer and listener. Being given the red-carpet treatment from the moment they open the stage door. Jazz performers love the space, the audience, the ambience and the treatment they receive. That supports their performance. They want to come back. And they tell their friends.

So…jazz is alive, well and growing at The Aeolian. The only limits as to what we can do at The Aeolian are the ones we impose upon ourselves. So let’s not impose any! We’re working now to develop our fall/winter series. Let us know your wish list! We’d love to make it a reality!

Jazz is Aliveat The AeolianBryan GloydeCo-Manager

One of the things I like about jazz, kid, is I don’t know

whats going to happe next. Do you? - Bix Beiderbecke

The Aeolian Hall Newsletter July 2010

Veronica Sweet and Mike Callowhill have volunteered with The Aeolian, in numerous capacities, since the beginning. As they put it, since before it was officially called volunteer-ing and it was just helping out.

Veronica and Mike got involved with The Aeolian as a result of their son David taking piano lessons in the school from David Parisi. Veronica previously knew Clark from high school in Amherstburg, and when he needed help with building repairs, Veronica generously volunteered her husband, Mike. Their commitment grew as Clark began to hold events and the two helped out with washing dishes, serving, cleaning up after events, and tending door. Both of Mike and Veronica’s sons, David and James, volunteered serving refreshments, and David acted as an usher at the irst Summer Soirée.

Veronica works as an Art Therapist at Children’s hospital at the London Health Sciences and has a thriving

Aeolian Volunteersprivate practice. Mike, who worked in child protection for 32 years, and in children’s residential and mental health facilities before that, retired from Social Work as of a year ago. Mike has also worked quite consistently as a home handyman to supplement income for 30 years. The cou-ple have two large gardens and strive to eat healthy, and as locally as the backyard. They enjoy music, the out-doors, hiking , camping and wildlife. Evidently, the family is very busy with their own schedules, and although may not volunteer as frequently as they would like, they are committed to Clark and the success of the hall.

Veronica and Mike reflected, in an e-mail interview, on the great people that they have volunteered with and also some of the great shows they seen with artists from their pasts like Valdy, Buffy St Marie, Maria Muldare, and Sylvia Tyson, ``helps make you feel young again even temporarily` The Aeolian is very grateful for the contributions of Mike and Veronica.

The Aeolian Hall Newsletter July 2010

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On the evening of June 29th, the Aeolian Hall welcomed over 150 special guests for a social reception in associa-tion with the international workshop on “Children’s Health and the Environment” being held at The University of Western Ontario. The evening’s guests included: Her Wor-ship Mayor Anne-Marie DeCicco-Best; Councillor Nancy Branscombe; President and CEO of the Children’s Health Foundation, Debbie Comuzzi; several residents of the Old East Village; as well as over 100 researchers, policymak-ers and practitioners from across the globe, including large contingents from Europe, the US, and New Zealand. Our workshop organizational committee strongly desired to hold a reception somewhere special in London, and we were so pleased that Clark Bryan invited us to the Aeolian Hall.

We see the Aeolian not only as a heritage landmark, but as a clear focal point for creativ-ity and cultural activity in the city of London, and indeed the entire Southwest-

ern Ontario region. That creativity was evident during our reception, which featured thematic artwork and a keynote address(!) by students of Lorne Avenue Public School, as well as breathtaking musical performances from sev-eral highly-talented young students of the Aeolian School of Music. In the words of one workshop participant from Colorado, it was truly a “magical evening”. The evening was co-sponsored by the Aeolian Hall, the Old East Village BIA, the London Intercommunity Health Centre, and the Ur-ban Development Program of UWO. We are all extremely grateful to the co-sponsors, and especially Clark and Sarah Merritt, for helping to show our guests the warm hospital-ity and sense of community offered by residents of the Old East Village.

Childrens Health and The Environment Workshop Social ReviewDr Jason GillilandAssociate Professor & DirectorUrban Development ProgramThe University of Western Ontario

By Steve Grega of D&S PianosD&S Pianos are a great supporter of The Aeolian. They push to bring the hall great quality pianos, including the C7 Yamaha Grand on stage now, and keep our pianos in great condition.

As a retailer of acoustic and digital pianos, we are often asked which should be purchased when one is about to start piano lessons.

Price is often the issue, with parents or individuals not looking to spend a large sum on an item that may not hold their interest for long. In the case of acoustic pianos,we are often amazed when we are called to service an instrument that has been acquired privately and for the lowest pos-sible investment, how poor a quality it very often is. It would be compared to giving a child a bicycle that is missing a pedal, a tire that is flat, and a seat that is not there and encouraging them to explore the joys of cycling. And yet the first investment in a piano is very often the equivalent. It is impossible to discover the wonders and beauty of the piano with something that only resembles one.

With the digital piano it is very often a similar situation, again with price being the issue. The digital keyboard line is a very large one, and can be very confusing for most. It can be a sophisticated toy, a full size piano substitute, a professional stage type synthesizer, all covering a wide range of prices and functions. Unfortunately the first time buyer generally makes their decision on price. When looking at the purchase with price as the criteria it is a marvelous toy, and is quite amazing. But when looking at the purchase as a piano substitute it falls very short of the mark. The low end of the keyboard market generally does not have weighted keys, and the dynamic range, the amount of expression and nuance is very limited. When that student plays a real piano they are unable to control the sounds they are making. A good digital piano will have a touch weight similar to a real piano. The keys offer resis-tance because they are weighted not spring loaded. It will have dynamics, the notes will change intensity as they are played. A good digital piano will have a price very similar to an acoustic model.

A real piano offers unlimited possibilities for expression,color and dynamics. A digital offers unlimited possibilities but not in the same way. Digital pianos can be connected to a computer and a whole world of possibilities are available, and yet most people that purchase them, never use it to the fullest. They use it as a piano.

Finding the Right Piano for Beginners

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aeolian.graphics@gmail.comLayout: Meghan McCreadyAdditional Photos: The Aeolian Photo vault