Tuesday, December 8, 2015

A SEASON OF LIGHT

Scripture:

“You are the Salt of the Earth, but if the salt loses its flavour, how shall it be seasoned.   It is then good for nothing but to be thrown out and trampled underfoot by men.   You are the LIGHT of the world.   A city that is set on the hill cannot be hidden.   Nor do they light a lamp and put it under a basket, but on a lampstead, and it gives light to all who are in the house.  Let your light shine before men, so they may see your good works and glorify your Father in heaven.” – Matthew 5: 13-16

“And this is the condemnation, that the light has come into the world, and men loved darkness rather than light, because their deeds were evil.   For everyone practicing evil hates the light and does not come to the light, lest his deeds should be exposed.  But he who does the truth comes to the light, that his deeds may be clearly seen, that they have been done in God.” – John 3:19-21

Reflection:

            I happened to attend one evening what was called a Chanukah Jam held in one of the oldest synagogues in downtown Toronto.    In a community filled with markets, cafes, clubs, and hipster hangouts, right in the middle of it all was this historic edifice that resembled a time no long ago where Kensington Market was the hub of Jewish life and culture for the immigrants who chose to live a better life with their traditions and faith in Toronto.
            In this time of year, I look forward to a time where one of my Jewish friends would invite me to an event where I feast on the delicacies such as jelly-filled donuts and freshly made potato latkes from the frying pan served with sour cream and apple sauce.   In God’s blessing, my wish came true.   I celebrated this holiday in a historic location, with a bunch of new Jewish friends who are trying to revive the culture and livelihood of the Jewish experience in the 21st century.
            Close to the end of the night, was probably the most emotional, spiritual and life impacting experience that I have ever encountered that shaped my faith as a believer.   As a collective group we used our candles to light the menorah.   I had to hold back tears but unfortunately had to let it all out because I was really moved by the men singing a Hebrew song that set the moment in a spiritual plane for me.   It signified belonging.   It signified triumph.   It signified that we have crossed over, and we are going to keep crossing over to newer territories by the grace of God.
            Chanukah, known as a festival of lights, is also known as the Feast of Dedication, or a festival of lights.   For eight days, Jewish people light candles to reflect the great miracle of the Maccabean priests who had a little bit of oil to last for a day that it kept burning for a whole week by God’s grace.    After this whole week, the great battle has been fought and the victory has been won.
            In reflection of all this, there is another festival that falls for those that believe in Jesus, and that is Christmas.   This time, the light of the world comes through the form of a baby born in Bethlehem by the name of Yeshua, or Jesus.   He would be born to redeem mankind from its sins and illuminate the world through his grace, power and truth.  

           In a season where there is so much celebration and anticipation for the pomp and circumstance of it all with family, gift giving and commercialism, we tend to forget the real spiritual meanings that these festivals signify.   These festivals are meant to remind us that it is all about the gift of light found in Jesus and receiving the gift of light and love through a dynamic relationship with him through his Spirit.   Maybe this time of year you want a PlayStation 4, an LCD TV, fine clothes, some money, etc.   Have you ever considered that the greatest gift you may ever need is found in the person of Christ and that it is free to begin with?   There is no price tag because Christ purchased his salvation on a cross 2000 years ago.   The only stipulation for you is to believe and receive in the work of Christ, repent of your sins, and life your life anew in him.    Then you can really experience a Happy Chanukah and a Merry Christmas.

Wednesday, December 2, 2015

OWEN PALLETT/TANYA TAGAQ AT MASSEY HALL

To kick of December, Massey Hall put on a concert featuring two young artists who were part of the prestigious Polaris Music Prize for music in Canada.  The artists happen to be violinist, composer, guitarist and singer songwriter Owen Pallett and Inuit throat singer Tanya Tagaq.

Owen Pallett, who was the opening act, was probably worth the price of admission alone for his set.   It was a great fusion of chamber music, cabaret, alternative rock which had a composed quality to it and an order that is sublime.    His set was real new music, and one in which deserves far more representation than the shit put out from Canadians today such as Justin Bieber, Drake, The Weeknd and Shawn Mendes.

However, the main headlining act, Tanya Tagaq, was probably the biggest dissapoinment in the many years I have gone to live concerts.   There was awkward silence for 5 minutes (as an inside joke, it was probably an elaborate pop version of the classic John Cage piece 4’33), very spaced out ranting and then she opened her mouth.   First, it was serene, and when she “came out of the closet”, I was completely mortified and disturbed.   This so called Polaris Music Prize winner basically conducted pure unintelligent noise that resembled a bad orgasm, elements of Satan worship, and was the most self-indulgent piece of shit music I have ever encountered in my life.   Thankfully a few people walked out with me and I wasn’t alone.      If this is the kind of art music that people pay to see, then we have NO hope whatsoever.

And that my friends, is the truth, the whole truth and nothing but the truth so help me God.

OWEN PALLETT OFFICIAL WEB SITE:

TANYA TAGAQ OFFICIAL WEB SITE

Monday, November 30, 2015

PETER AND THE WOLF AT THE TORONTO SYMPHONY ORCHESTRA (IN SUPPORT OF SICK KIDS)

Normally I don’t know how to write a review on classical music, but after witnessing a glorious concert that resembled a part of my childhood, I felt moved to write something about my experience at the Toronto Symphony Orchestra, and many more to come in the future.

The presentation of Sergei Prokofiev’s classic “Peter and the Wolf” was a moment that upon celebrating my 35th birthday, highlighted a moment where I was introduced to classical music for the first time.   Peter and the Wolf, narrated by a Leonard Bernstein, opened a world in which I would never leave from again.   To revisit that in a fresh new retelling featuring the humour and pathos of famed Canadian satirist Rick Mercer, recaptured the moments of pure storytelling, innocence, and tranquility in a long ago world.

In addition to the highlighted piece, there was a serene all horn arrangement performed by French Horn player Neil Deland of my fellow birthday brother Hoagy Carmichael’s “Stardust”, another birthday brother Benjamin Britten on the opener “Young Persons Guide to an Orchestra”, and another highlight of the evening, a Rachmanninov piano concerto which was a variations of a theme of Paganini.   Pianist Coco Ma had a precision and poise that was spot on, added with the sheer grace and charm by the featured pianist.

To close, what touched me the most that night was that the concert was the first benefit dedicated to the valiant work of one of the greatest hospitals in the world and a Canadian icon, “The Hospital for Sick Children”.    The story that touched me the most was that of conductor and musical director Peter Oundijan.   He shared that because of a ruptured intestine, he could have died as a baby.   However, thanks to the God-given talents and skills of the doctors at the time, he fully recovered, has got a clean bill of life, and now leads one of the greatest orchestras in the world.   Stories like this prove to me beyond a reasonable doubt that there is a God out there who is still bringing hope and healing in accordance with his will and timing.    Out of pain, comes growth.    And out of this valiant work came a brilliant conductor and musical director.   

OFFICIAL TORONTO SYMPHONY ORCHESTRA WEB SITE:

OFFICIAL HOSPITAL FOR SICK KIDS WEB SITE:





Sunday, November 29, 2015

IN THE KEY OF OSCAR

2015 marked a lot of milestone birthdays this year.    Billie Holiday, Billy Strayhorn and Frank Sinatra to name a few would be 100 years old.   One other huge milestone, 10 years different, would be the 90th birthday of one of the greatest Canadian celebrities to grace the entire world.    He became famous without the need of drugs, sex, or flaunting wealth to get ahead.   I am talking about the “Maharajah” of the piano himself, Dr. Oscar Peterson.

To cap the festivities, the folks at the Royal Conservatory of music showed an almost 25-year-old documentary about the life and times of this great legend, produced by his niece Sylvia Sweeney, daughter of Oscar Peterson’s sister and teacher Daisy Sweeney.    The documentary was a love story, a history lesson, and a jazz fest rolled into one, which at times could lead to sadness, rage, despair, and ultimately, joy.

The film looked at the golden era of jazz, and the trials and tribulations they went through to get to where they are in the most respective places in music history.   They were harassed, beaten, threatened to death, and treated like pieces of shit because of the colour of their skin.    Oscar Peterson got hate mail because of his decision to hire a white guitar player that would ultimately be one of the greatest small combos in the history of jazz.   Oscar Peterson did and lived through it all, and it should serve as a purpose to the millennial generation to know that this music came from love, toil, sweat and tears, not keyboards, electronics, and Autotune.


Upon looking at this documentary, I realized that Oscar Peterson and myself are mirror copies of each other but in a different time.   Oscar found acceptance and endearment from the white race just like me.   We both came from West Indian families who instilled strict Christian values, conservative values and work ethics that will hold it together in life.   Ultimately, the road was paved with suffering, toil and a lot of soul searching to make us the people that will not only make recordings, but also change the game of music.   “In The Key of Oscar” is probably the best two-hour history lesson that I have ever encountered that made me respect and honour my Canadian hero even more.

Saturday, November 28, 2015

DAVID VIRELLES: GNOSIS

In one of the most magical and most forward thinking places in Toronto for live music, I decided to take in a concert of some of the most unique music put together by a good old friend of mine.   He would go by the name of David Virelles, fellow Cuban and prodigee of Jane Bunnett.

I first met David at the IAJE conference in January of 2003.   I even took a Barry Harris workshop with him and when we saw the 50th anniversary of the “Quintet:  Live At Massey Hall”, we hung out the night away with greats such as Dave Holland, Max Roach, Roy Haynes, Roy Hargrove, Kenny Garrett, and one of our main piano heroes, Herbie Hancock.

All of a sudden now, David moved to New York, and at a ripe young age he is now backing up and recording with Chris Potter, Tomasz Stanko, Andrew Cyrille and Ben Street to name a few.   He got his training through the AACM (Association for the Advancement of Creative Musicians) through legends such as Muhal Richard Abrams and Henry Threadgill.   Through these experiences, he is fusing the elements of the avant-garde, post-bop, contemporary classical, free jazz, and Afro-Cuban music into a uniquely potent style that is really energetic, rapturous, and gets you in the zone wanting more.

The performance was split into two sections.   David Virelles played mostly solo piano some short pieces and compositions with a few highlights from vocalist Roman Diaz and a percussion instrument.   From what I gathered, one moment David would play with the sensitivity and the romanticism of a Beethoven or a Chopin, but once he locks in a groove, he brings a percussive element that is just as intense and fiery as a Cecil Taylor.  

The actual world premiere performance, Gnosis, is a work that is a fusion of classical elements mixed with avant-garde, Afro-Cuban jazz.    It is a marriage made in heaven.   One of the highlights of the movement was a section in which David and the percussionist played a near 10 minute groove that was so intense, rapturous, and spiritual that I had to literally get up off my seat and start doing interpretive freestyle dance to the music, communicating with the percussionist who was egging me on with his rhythms.   That alone was what David really achieved that night.   Gnosis, which is Greek for “Spirit” (hence where you get the word Gnosticism) was just like that.   For me, it felt like a Pentecostal church service that didn’t want to end.  

In my honest opinion, David Virelles’ “Gnosis” could very well be the best concert that I have ever been to in 2015, since it was art at its most energetic, spiritual and classiest at its best.

OFFICIAL DAVID VIRELLES WEB SITE:


(David Virelles)