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HALIFAX, NOVA SCOTIA | Monday January 29, 2007

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Show-trumpeter Guthman has gift of sincerity

If Canada had a Las Vegas, show-trumpeter Gary Guthman would be its Tony Bennett.

He’s smooth, he’s got all the moves, he sings, he plays trumpet and flugel horn like Gabriel on
» Front page amphetamines — but, and more importantly for Canadian audiences, he’s showbiz lite.
» Metro
» Nova Scotia In other words, Guthman, who brought his Salute to Swing concert to Symphony Nova Scotia Friday
» Canada night, puts on a great act for Great White Northerners. We get embarrassed for the Vegas lot when
they come up here and make idiots of themselves by not understanding we don’t need to be snowed
» World
to be entertained.
» Business
» Sports Guthman has the gift of sincerity. He limits shtick to a few tap-dancer poses at the end of a number,
» Entertainment but charms the audience with a mix of flattery and genuine delight in entertaining them and talking
with evident delight about his favourite subject — swing.

Musically, he’s extraordinarily expert in that field — American swing music of the ’30s, ’40s, and ’50s
— but, as a virtuoso performer, can also slide seamlessly into a jazz combo, or the trumpet section of
a symphony orchestra or big band — all of which he has done and still does in his career, and he’s not
yet 50.
» Editorials
» Columnists Guthman paid tribute to the great swing bands/orchestras — Benny Goodman, Duke Ellington, Glenn
» Letters/Feedback Miller, to name a few. But it became clear that for him Harry James occupies the peak of the
pantheon.

He began the show with a 1912 sentimental ballad James put his stamp on in 1942 — Eric Coates’s
Sleepy Lagoon. Sighs of approval arose like sea-smoke from those lucky enough to remember the
romance of it.

And so it went: sappy ballads and squealing high notes, energetic orchestral intros with manic
» Quinpool Kid
episodes like the whole french horn section playing Czardas like Paganini, Stan Kenton-ish
» the indie scene arrangements bristling with rhythmic explosions like a blow-torch in a bagful of firecrackers, and high,
» Urban Pedestrian high above it all — egged on by SNS’s marvellous three-piece trumpet section — Guthman’s trumpet
» Sunday Dress
wailing and sailing and slashing up and down the scales like chain lightning.

» The Near North


Guthman ended the first set with a aalute to Glenn Miller, a medley of abbreviated excerpts from "12
» Hockey Girl
or 13 of my favourite Glenn Miller hits." He played a lot of such medleys, sometimes just ending the
tunes without transition, pausing briefly, then starting the next one over the applause, the audience
thinking it was the end of something.

In the second half, conductor Dinuk Wijeratne spelled off rhythm-section pianist Don Fraser to play
Beautiful Love in a quartet combo with Guthman, bassist David Phillips, and drummer Terry
O’Mahoney. They could have played all night.
» Living
» Travel Wijeratne is an extremely fine jazz pianist, with a style distinguished by both its thoughtful invention
» At Home and its transparent simplicity.
» Books
» Religion Guthman changed gears in an instance from show trumpeter to jazz horn-player (on the mellower
flugel-horn).
» Science
» The NovaScotian
Then they all went back to the business of the evening, first with a sweet, cheek-to-cheek version of

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the romantic Besame Mucho, and ending with Louis Prima’s Sing Sing Sing in the Glenn Miller style in
which 0’Mahoney delivered a very respectable interpretation of Gene Krupa’s jungle-drum solo.
» Births
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» In Memoriam
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“ If we had no
winter, the spring
would not be so
pleasant: if we did
not sometimes
taste of adversity,
prosperity would
not be so
welcome. ”

Anne Bradstreet

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© 2007 The Halifax Herald Limited

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