Issue No.

4 July 2010
How to Select a Great teacher who may only have limited qualifications. So how
relevant are professional qualifications? These qualifica-
Music Teacher tions are a testament to certain specific studies and levels
attained which often give a greater perspective and skill
Clark Bryan bases to a teacher. Investigating the exact qualifications
Executive Director and experience of a teacher is an important beginning
point. For example, if a teacher has a music degree spe-
After writing an article about Music Festivals, Competitions
cializing in musicology, they may not be as good a choice
and Examinations for our last edition of The Aeolian, I felt
as a teacher who has a degree in music pedagogy.
compelled to begin launching new ideas to add to or re-
place our current music education system. I was recently
Teaching experi-
asked to become the President of the London Branch of the
ence is another
Ontario Registered Music Teacher’s Association. Having
important crite-
accepted this honour, I am further committed to bring music
rion when making
education into more public awareness.
choices. Young
Teachers fresh
“All that is valuable in human society depends upon the out of college,
opportunity for development accorded the individual.” university or other
- Albert Einstein professional
studies will often
bring new ideas
and great en-
In this edition of our newsletter I would like to discuss
thusiasm to their
what qualities make great music teachers. Parents are
teaching, but will
often perplexed as to how to decide which teacher would
not necessarily have a seasoned way of interacting with
be a good fit for their child. Their peers often propose a
students of varying personalities and abilities.
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
“If I were not a physicist, I would probably be a musician.
by making the wrong fit when it comes to a teacher. This
I often think in music. I live my daydreams in music.
may sound familiar to many of you who had the opportunity
I see my life in terms of music...
to take lessons in your youth. “If only I could have had a
I get most joy in life out of music.”
more encouraging teacher”….”My teacher told me I was not
- Albert Einstein
talented”….”I hated Examinations and Festivals and don’t
want to play any more: music study equals stress!”
Measuring a teacher by the testimonials of others is an-
other good way to add to your research . Be sure to get
Today’s children get very little “one-on-one” attention. In
lots of testimonials. A teacher should be able to provide
today’s busy world, children need this type of focus. The
references for this. Keep in mind that the most important
Private Music Lesson is a great opportunity for this type of
factor to weigh is not the outcome of the highest marks in
interaction.
examinations or the winning of festivals, but the overall skill
base of the student and their enthusiasm for their studies.
Professional qualifications are one important component
We want students of music to develop a life-long love for
when choosing a teacher. Qualifications may entail not
this art form and continue to play and enjoy music for the
only degrees and diplomas but teaching experience and
rest of their lives.
professional development through continued studies and
performing. There are many teachers who have PhD’s in
Be sure that the program proposed for your son or
music that are poor teachers and teachers who have no
daughter is tailor fit to them and not a pre-packaged
professional diplomas who are extremely gifted teachers.
In smaller communities, there is sometimes only one music (continued on the next page)

1
The Aeolian Hall Newsletter July 2010
homogenized system. One size does not fit all when it for my child and is the equipment of good quality ( i.e.:
comes to education. A teacher/parent/student interview is pianos)?
a must to ensure that the parent is clear on the teaching 13. How do you convey progress reports to both students
approach and that there is a good personality mix between and parents?
the student and the pupil. Remember that the partner- 14. What is the expectation for practicing at home? How
ship is not only between the student and teacher, but also long should the practice sessions be and what should
between the parent and student as well as the parent and my role as the parent in these sessions look like?
teacher. 15. What is your fee and teaching policy?
16. Do we need to purchase materials for the lessons?
Here is a short list of questions to a prospective teacher:
A good resource to discover private music teachers is The
1. Do you feel my child is ready for music lessons? (this Ontario Registered Teacher’s Association or ORMTA
may involve an informal testing session) (ormtalondon.org). All
2. What is your teaching philosophy? of the teachers in this
3. What is your musical experience? directory have
4. What is your performance experience? professional
5. What type of professional qualifications do you have? qualifications and
6. What is your teaching style? have had to pass
7. What type of program do you offer? (i.e.: theory, history, certain screening
playing by ear, reading skills, style of music, physical processes in order to
technique of playing the instrument) get on this list,
8. Can I shadow a lesson while you teach? including teaching
9. Can I attend a recital of your students? experience.
10. What type of program of study do you propose for my
child? The mission of this organization is: ``to promote
11. What types of goals do you have for students (ie; ex- excellence in music education, to promote a lifelong
aminations, festivals, competitions, recitals)? love of music in our students and to provide fellowship
12. What is your studio environment like? Is it comfortable and professional growth among members”.

Creative Contributions Penn Kemp Performing

Sounding The Aeolian At The Aeolian!
A Poem by Penn Kemp 6 PM August 1 Dream Sequins:
We’re in the green room rehearsing Dream Sequins at Aeolian Hall, A Sound Opera for Midsummer Soirée
papers scattered about, but the piece is coming together magically featuring Penn Kemp,
when Clark comes through, inviting me upstairs for a casual snack.  Bill Gilliam and Brenda McMorrow
following The Aeolian`s 6th Anniversary
As I follow him into the hall, sunlight streams into the hall, lighting Gala & Art Exhibition Opening (2-5 PM)
the Black Madonnas into radiant Life.  The shutters are thrown open. Part of our Summer Soirée.

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
Art by
butterfly with a fluid  swallow tail attracts my attention.  One leg is caught Kim Harrison (left) &
in the rafter by a dense cobweb.  Turning to the tall blonde woman who Anya Romanenko
(right)
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.
2
The Aeolian Hall Newsletter July 2010
Aeolian History
in the parking area 2008. Best practices in recycling and
One Volunteer’s using eco friendly bio degradable cups in the bar have also
Retrospective View been implemented. After Maude Barlow’s visit over a year
ago the Aeolian has not sold plastic water bottles. Careful
Mary-Ann Jack-Bleach consideration is given when selecting which products will
Volunteer be used in the building or sold at the bar. Despite Clark
and Bryan getting the thumbs up from patrons for their
Unlike the Hotel California, once you have entered and
environmental initiatives, they are always open to hear
enjoyed “The Aeolian Hall experience” you are allowed to
where further improvements can be made.
leave, but you will always come back. Having
volunteered here for nearly 4 years I have come to
In the early days of renovations, Shmuel Farhi generously
understand what makes this venue such a memorable
allowed Clark to take what he wanted from within the
experience for performers, patrons and volunteers alike.
Capital theatre before its interior was gutted. Much of the
No matter what, when one leaves a show or event, you just
hall’s accessory charm such as the wall sconces,
feel good!
chandeliers, upstairs seating, wall displays are seeing new
life again. The 27 feet of old bar that was on the third floor
When Clark Bryan bought the Hall in July 2004, it certainly
balcony in various sections has been slowly pieced
did not look like it does today. The meticulous, hard work
together again for different uses. Sections were used to
by Clark and countless volunteers has transformed the
create the bar counter (2007), concession booth, front
hall into a comfortable space to play music, perform plays
office counter (2008) and upstairs balcony bar (2010).
and host numerous community events. In recent years
Clark, Bryan and volunteers have stripped walls, redone
Clark’s partner Bryan Gloyd, a successful jazz pianist has
drywall and patched holes in walls, painted walls, upgraded
contributed significantly in terms of improving how the bar
electrical outlets, laid down new floors in the lobbies,
operates. He also spear headed a much needed overhaul
carpeted the back stairs, resurfaced the stage, decorated
of the previously ghastly Green Room. It’s not surprising
the windows, redone the 3 wall displays which now adver-
that renowned Canadian Performers call to book the venue
tise future shows and some merchandise of artists who
as they hear the Hall’s acoustics are possibly the best in
have performed in the hall. All this was done with Clark’s
Canada. The high open ceiling and “curvaceous” back wall
money, donations from patrons at the bar and local
in the Hall together with a state of the art home PA system
companies and volunteers pitching in with labour and
creates a sound phenomenon that has been receiving a
materials. There has been so much done, but we know
positive reputation around Canada. I have often heard
there is still so much to do....
performers talking to their band members or just saying out
loud “Wow, I love this place” when they are doing sound
An event that stands out for me was when Clark received
checks. The word has also spread that the hall’s
delivery of his precious C7 Yamaha Grand Piano. He was
atmosphere is cosy and that our audiences are receptive to
so excited and still expresses his joy at being able to play
live music of all genres.
such a perfect instrument. Many performers who have had
the opportunity to play this piano (including Chick Corea)
Renovating the property has had its challenges as it is hard
remark on how it is such a pleasure to play and this has
to find a straight wall. Once you open up an area you may
caused some healthy piano envy amongst Clark and his
need to do more work than expected. We are all aware
fellow musicians.
that the hall which is a London Heritage Building was built
in 1883/4, and she requires a respectful and careful touch
Perhaps Clark’s greatest accomplishment is not tangible
when upgrading occurs. Its Nineteenth Century
or measureable. Through his unselfish manner he has
architecture is quaint from both the outside and inside
facilitated the opportunity for local Show Promoters and
views. Clark and Bryan plus volunteers have created
organizers of large London outdoor summer events to all
attractive front and back garden areas surrounded by
work collaboratively under the Aeolian Hall’s roof. To see
fences where there was once only asphalt and garbage
the obvious respect these leaders in the local art and music
blowing around in an open area beside the hall. In 2007,
world have for one another and the way in which they work
the hall’s exterior walls underwent a face lift with minor
together towards a common goal is very heartening. We
plastic surgery which including exterior caulking followed
live in a world where an attitude of “what’s in it for me” can
by a few coats of paint. The final touches were securing the
prevail within the Art’s community; here is someone who
creaking eaves troughs and cleaning the windows. People
wants to share his stage with others. Clark invites them to
who had driven past the Hall on Dundas Street for years,
be a part of the Aeolian Community so that diversity can be
suddenly stopped as they noticed the Hall. “Was this hall
embraced and all people in this region of can benefit in the
always here?” we were asked. “We have never noticed it
(continued on the next page)
before”. A user friendly recycling/garbage hut was built
3
The Aeolian Hall Newsletter July 2010
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.
4
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.”
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
The Aeolian Hall Newsletter July 2010
Contact Info
Phone: 519-672-7950
Upcoming Events Calender
Fax: 519-675-0614 July 15 8 PM HCFF: Buck 65 $25 adv/$27 door
E-mail: info@aeolianhall.ca July 16 11 PM HCFF: Jason Collett
$20 adv/$22 door
Office Hours
10:00am-6:00pm Monday to Friday July 17 1 PM HCFF: Roya Wood
$20 adv/$22 door
Ticket Information Summer Soirée Festival
Tickets are available for purchase by phone (Visa, July 21-24 8 PM Pride Writers Showcase
MasterCard) or in person (Visa, MasterCard, debit, +2PM July 24 Matinee
cash). $15 door

You can also purchase tickets online at July 25 3 PM Brahms Violin Sontas: Mary Elizabeth
www.ticketscene.ca. There is an extra service charge Brown (violin) & Clark Bryan (piano)
by Ticketscene for this service. $20 adv/$22 door

Tickets can be picked up at any time before an event, July 31 8 PM Inventions Trio feat. Bill Mays (piano),
during our office hours. Tickets can also be retrieved Marvin Stamm (trumpet) & Alisa Horn
at Will Call when the doors open for the event, which is (cello) $20 adv/$22 door
usually one hour before show time.
August 1 7 PM Dream Sequins for a Midsummer
We’re Online! Soiree featuring Penn Kemp with Bill
Gilliam and Brenda McMorrow.
www.aeolianhall.ca
$20 adv/$22 door
www.facebook.com/theaeolian August 10 8 PM Power of Community: How Cuba
Survived Peak Oil (Documentary
www.twitter.com/AeolianHall Screening and discussion)
Admission by Donation
www.flickr.com/photos/aeolianphotos
August 12 8 PM Jeff Eames: Humanitarian Aid With
www.youtube.comuser/1LondonMusic Dignity Admission by Donation

August 15 3 PM The Complete Brahms Hungarian

Location Dances: Clark Bryan & Marion Miller
Piano Duet
795 Dundas St... London Ontario. Entrance is left of the $20 adv/$22 door
main double doors at the Dundas St. and Rectory St. cor-
ner offices. August 21 8 PM Prime Time Big Band wsg vocalist
Parking Gina Farrugia
$22 (includes light snacks)

August 22 3 PM Clark Bryan CD Release Chopin

Nocturnes Sonatas 2 & 3
$20 adv/$22 door
August 24 8 PM
The End of Suburbia (Documentry
film screening and discussion) Ad-
mission by Donation

August 28 8 PM From Broadway to Jazz featuring

Rick Kish & Natalie Howard-Grant
Visit www.aeolianhall.ca for more information
with guests $20 adv/$22 door
Advance tickets available online & through
The Aeolian Box Office 519-672-7950 Buy any 3+ tickets for Summer Soire Events for $15 Each
Summer Soirée Festival Pass $75
5
The Aeolian Hall Newsletter July 2010
Aeolian School of Music
Mark Gardner--Voice
Teacher Profiles Mark Gardner, Baritone, originally from Detroit
MI, graduated with a Bachelor of Fine Arts in
The Aeolian School of Music is a vibrant core to the Vision
Theatre and a Bachelor of Music in Voice from
and Mission of the Aeolian Performing Arts Centre. With
Wayne State University in 2001. In 2004 Mark
highly qualified teachers and a growing student body, the
received a Masters degree in Voice from the
school has doubled in size in the last two years. Lessons
Peabody Conservatory at Johns Hopkins
are offered in many instruments including piano, voice,
University. Mark has been the recipient of
guitar, violin, flute and trumpet. A variety of musical styles
many awards including a Peabody Career grant and a
are taught including Classical, Jazz and Modern idioms.
Peabody talent scholarship. He served, for two years, as
Music Theory, History and Pedagogy are also offered.
the Artist in Residence at the University of Maryland East-
ern Shore, and currently teaches at a studio in Stratford,
With the greatest hall in London just upstairs from the
and London Ontario.
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 Marg Trethewey--Flute
in this edition: Marg Trethewey was born in Stratford, Ontar-
io and grew up in Montreal. She is a gradu-
Kevin Love--Classical Guitar ate of the Conservatoire de Musique de la
Province de Quebec and has studied flute,
Keven Love has performed as a classical
recorders and early flutes in both Canada
guitarist from Los Angeles to Quebec City. He
and New York with the likes of Merve Bauk-
received his musical training at Los Angeles
kargeon, Christian Larde, Jean-Paul Major,
Valley College and the University of Southern
Hans Martin Linde and Morris Newman. She
California. He has also played in numerous
has performed and taught in Montreal and
master classes. Awards include the Ensemble
Toronto, and has recorded with CBC radio and
Award from U.S.C., the Music Faculty
television. Since her return to London, Marg has been
Scholarship from L.A.V.C. and first place in the
fortunate to teach a number of very gifted teachers and
L.A.V.C. Classical Guitar Association competition. In
students at The Aeolian.
addition to his performance schedule, The award winning
composer has maintained a thriving teaching practice for
The school is assembling an instrument bank so that gifted
over 25 years, working one on one with students of all ages
students who cannot afford to buy a good instrument to
and coaching ensemble classes.
study on will have access to one while studying at the
school. If you have such an instrument at home and would
Catherine Gardmer-- Piano and Voice like to donate it to the school, please let us know! We are
Soprano Catherine Gardner, a native of also building a scholarship and bursary fund to inspire and
Stratford, Ontario, began her vocal studies at assist students in the future studies. If helping students is
the University of Western Ontario where she your passion, we can offer tax receipts for donations to this
completed her Bachelor of Music in Voice fund!

Art Exhibition
Performance. She continued her education at
the Peabody Conservatory of John Hopkins
University where she completed her Masters Art by Marion Drysdale (left) & Mary-Ann Jack-Bleach
degree, followed by a Graduate Performance Diploma. She (right). See more at our Anniversary Gala & Art Opening
has earned several awards and honors including Young August 1 2-5 PM, and around the
Artist of the Year (London Arts Plus)and the George Cas- hall during our Summer Soirée.
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.

“Without music life would be a mistake”

Friedrich Wilhelm Nietzsche

6
The Aeolian Hall Newsletter July 2010
Building the Next London
Greg Thompson, Friend of the Aeolian
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
7
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
Fundraising for The Aeolian`s
New Roof
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
The Aeolian Hall Newsletter July 2010
TD Sunfest ’10 Sizzles with a
Record Number of Headliners
from Around the Globe!
By: Brian Hannigan
Sunfest Communications Coordinato
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
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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.
The Aeolian Hall Newsletter July 2010
Jazz is Alive
at The Aeolian
Bryan Gloyde
Co-Manager
“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!
One of the things I like about jazz, kid, is I don’t know
whats going to happe next. Do you?
- Bix Beiderbecke
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.
Aeolian Volunteers
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
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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!
private 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
Childrens Health and The Finding the Right Piano
Environment Workshop for Beginners
Social Review By Steve Grega of D&S Pianos
D&S Pianos are a great supporter of The Aeolian. They
Dr Jason Gilliland push to bring the hall great quality pianos, including
Associate Professor & Director the C7 Yamaha Grand on stage now, and keep our
Urban Development Program pianos in great condition.
The University of Western Ontario
As a retailer of acoustic and digital pianos, we are often
On the evening of June 29th, the Aeolian Hall welcomed
asked which should be purchased when one is about to
over 150 special guests for a social reception in associa-
start piano lessons.
tion with the international workshop on “Children’s Health
and the Environment” being held at The University of
Price is often the issue, with parents or individuals not
Western Ontario. The evening’s guests included: Her Wor-
looking to spend a large sum on an item that may not hold
ship Mayor Anne-Marie DeCicco-Best; Councillor Nancy
their interest for long. In the case of acoustic pianos,we are
Branscombe; President and CEO of the Children’s Health
often amazed when we are called to service an instrument
Foundation, Debbie Comuzzi; several residents of the Old
that has been acquired privately and for the lowest pos-
East Village; as well as over 100 researchers, policymak-
sible investment, how poor a quality it very often is. It would
ers and practitioners from across the globe, including large
be compared to giving a child a bicycle that is missing a
contingents from Europe, the US, and New Zealand. Our
pedal, a tire that is flat, and a seat that is not there and
workshop organizational committee strongly desired to hold
encouraging them to explore the joys of cycling. And yet the
a reception somewhere special in London, and we were so
first investment in a piano is very often the equivalent. It is
pleased that Clark Bryan invited us to the Aeolian Hall.
impossible to discover the wonders and beauty of the piano
with something that only resembles one.
We see the
Aeolian not only
With the digital piano it is very often a similar situation,
as a heritage
again with price being the issue. The digital keyboard line is
landmark, but
a very large one, and can be very confusing for most. It can
as a clear focal
be a sophisticated toy, a full size piano substitute,
point for creativ-
a professional stage type synthesizer, all covering a wide
ity and cultural
range of prices and functions. Unfortunately the first time
activity in the
buyer generally makes their decision on price. When
city of London,
looking at the purchase  with price as the criteria it is a
and indeed the
marvelous toy, and is quite amazing. But when looking
entire Southwest-
at the purchase as a piano substitute it falls very short of
ern Ontario region. That creativity was evident during our
the mark. The low end of the keyboard market generally
reception, which featured thematic artwork and a keynote
does not have weighted keys, and the dynamic range, the
address(!) by students of Lorne Avenue Public School,
amount of expression and nuance is very limited. When
as well as breathtaking musical performances from sev-
that student plays a real piano they are unable to control
eral highly-talented young students of the Aeolian School
the sounds they are making. A good digital piano will have
of Music. In the words of one workshop participant from
a touch weight similar to a real piano. The keys offer resis-
Colorado, it was truly a “magical evening”. The evening
tance because they are weighted not spring loaded. It will
was co-sponsored by the Aeolian Hall, the Old East Village
have dynamics, the notes will change intensity as they are
BIA, the London Intercommunity Health Centre, and the Ur-
played. A good digital piano will have a price very similar to
ban Development Program of UWO. We are all extremely
an acoustic model.
grateful to the co-sponsors, and especially Clark and Sarah
Merritt, for helping to show our guests the warm hospital-
A real piano offers unlimited possibilities for
ity and sense of community offered by residents of the Old
expression,color and dynamics. A digital offers unlimited
East Village.
possibilities but not in the same way. Digital pianos can be
Share your Aeolian related news connected to a computer and a whole world of possibilities
E-mail it to us at: are available, and yet most people that purchase them,
never use it to the fullest. They use it as a piano.
aeolian.graphics@gmail.com
Layout: Meghan McCready
Additional Photos: The Aeolian Photo vault
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