It’s December in Canada, and Mother Nature has already announced in no uncertain terms that she intends for this one to be a white Christmas. This also means the ubiquitous Christmas albums will be hitting shelves and streaming platforms with more of the same old carols that you’ve been hearing since you were a little kid, without much variation in the sound. London, Ontario’s Maggie’s Wake have made a statement of their own with the release of Close to Home, a seven-song holiday-themed EP, with three never-before-heard, original Christmas tunes.
Maggie’s Wake is a bit of a super group, (forgive me if you’ve read me saying that once or twice before), including two of Canada’s finest fiddle players in Tara Dunphy (The Rizdales and solo) and Lindsay Schindler (Rant Maggie Rant and Trent Severn) rounded out by the rhythm section of Andrew Kosty on upright bass and Kenneth Palmer on guitar. Kenneth was also the EP’s engineer/mixer with production by Tara and Lindsay.
(Pictured: Maggie’s Wake.)
The seven songs include a gorgeous cover of Gordon Lightfoot’s “Song For A Winter’s Night”, a handful of traditional/original Christmas/winter songs arranged for fiddles, guitar, and bass, as well as flute and tin whistle by Tara, plus three original Christmas songs written by Tara Dunphy. If you have not been exposed to the music of Maggie’s Wake thus far, you should know that these are four serious players! Their chemistry as a band is highly evident within the first notes of the warmly endearing “Ontario”. It’s a song that describes some of the best parts of being an Ontarian, like making snow angels and coming in to hot chocolate and maybe a “mini sticks” game in the basement or maybe a proper game of shinny when dad gets the frozen pond lit up.
“It’s dark before dinner but now we can play, I’m Wendell Clark and you’re Gilmour today!” – from “Ontario” by Tara Dunphy.
The beauty of Maggie’s Wake is their ability to jump around genres from traditional Celtic sounds to country, folk, and jazz. The latter is evident in the second Tara penned piece, “It ain’t Christmas without You” which sounds like it would be right at home on a Stéphane Grapelli album with its bouncy blend of Hot Club Jazz and Western swing vibes. The Line “they can deck the halls and trim the tree, but I’ll tell Santa when I’m on his knee, that it ain’t Christmas without you” is typical of the playful and clever lyricism that a veteran songwriter like Dunphy is capable of, as evident in the darkly romantic pieces she has written for her Honky Tonk band, The Rizdales.
(Pictured: The Rizdales. Photo by Paul Latorre.)
Interwoven throughout the EP are traditional song sets expertly arranged by Lindsay Schindler and the fellas, and they have that same sort of playful feel as opposed to old recordings of pieces like “God Rest Ye Merry Gentleman”, “The First Noel”, or “Oh Holy Night” that can often come off as staid and stuffy. The quality of the musicianship within this ensemble cannot be overstated! Two of the instrumental pieces were written by Lindsay Schindler, “Into the Shadows”
which is part of the “God Rest Ye…” set, and the beautiful title piece, “Close to Home”.
Rounding out the seven-song effort is another Tara Dunphy original, “Christmas is Coming (for you!)” which is probably one of the sweetest, yet cheerfully cynical new Christmas songs I’ve heard in many decades. It describes the stresses of the holiday season as being a holiday hyped by marketing execs and gives a nod to Christmas Music and decorations coming out before Hallowe’en has even passed. Like all the classic stories of the “bah humbug” attitudes of the protagonist, this song resolves into the realization that what it’s all really for is that moment when you get to step back and see that it was all about your love of family and friends and community.
Throughout the album, Tara sings naturally and almost effortlessly with a very controlled and clear voice. I’d hate to embarrass her by stating this, but she almost reminds me of Anne Murray in that she can take a song in any genre and make it her own, just from the distinctiveness of her voice. Don’t get me wrong on that; she sounds 100% like Tara Dunphy, and when blended with Lindsay’s rock-solid harmonies, this album has some of the finest singing this country has ever produced. There is a pretty good reason why they were bestowed with the Canadian Folk Music Award for Best New/Emerging artists in 2025.
This is my first real exposure to Maggie’s Wake, other than some YouTube videos and such that I have seen posted online. To say I am in awe of their talents is a huge understatement. Everything about this group and this release is very refreshing and somewhat wholesome, and is music you can share amongst friends and family, and also music that I hope reaches the ears of folks right across this vast country of ours. These pieces have what it takes to stand the test of time, so I encourage you to follow the links and check it out for yourself.
Please check out their Patreon-style page, where they are trying to raise funds for a trip to Ireland for the whole group, for a showcase in Belfast in the Spring of 2026. This is a chance for this hidden Canadian gem to gain exposure throughout the world!
Pianist/vocalist Marque Smith is a very busy, well-known musician in the London area. Since moving to London in 2007, he has been the musical director for plays with Musical Theatre Productions, London Community Players and Original Kids Theatre Company, to name a few. He is also a very experienced choral musician and has been a member of The Karen Schuessler Singers, The Nathaniel Dett Chorale, The Toronto Mendelssohn Choir, The Toronto Mendelssohn Youth Choir and The Canadian Children’s Opera Chorus.
He has performed with many of the city’s leading soloists, choirs and ensemble groups, including Denise Pelley and London Symphonia. He is currently the Accompanist/Band Leader of the London Gospel Collective.
Marque was the Recipient of the 2012 Queen Elizabeth II Diamond Jubilee Medal from the Governor General for dedicated service to his peers, his community and to Canada.
What follows is an edited Q&A Interview with Marque conducted by The Beat Magazine’s Publisher and Content Manager, Richard Young.
(Pictured: Marque Smith.)
Some basic stuff first: Where were you born? How long have you lived in London?
I was born in Toronto. I lived in London from February 2007 to September 2025. I moved to Port Stanley in October 2025.
Was yours a musical home? Did you have any professional training, or are you self-taught? A bit of both? Could you tell me about your early musical endeavours as a child and teenager?
Yes, music was played quite a bit in my home. I studied classical piano at The Royal Conservatory of Music and jazz piano at Humber College. I sang in The Canadian Children’s Opera Chorus, The Toronto Mendelssohn Youth Choir, The Toronto Mendelssohn Choir, The Nathaniel Dett Chorale, and The Karen Schuessler Singers.
Do you remember the moment when you made the decision that music was going to be a big part of your life?
I was in my last year of high school when I decided to pursue music as a career.
How long have you been playing music professionally?
I have been playing music professionally for twenty-seven years.
Other than keyboards, do you play any other instruments?
I am a vocalist. In elementary school, I played the Baritone and in high school, I played the guitar.
(Pictured: Marque Smith.)
What are your main musical influences?
I love classical, jazz, disco, R & B, hip hop, rap, gospel and pop music.
What influence does your Christian faith have on your music?
I grew up in the church, and faith has had a huge impact on my life.
Tell me about the various groups and musicians you have played with since you started playing professionally. Who are you currently playing with?
The list is long indeed. I perform with a variety of vocalists, instrumentalists, and choirs.
Tell me about any recordings you have made in your career.
I recorded two albums with Nathaniel Dett Chorale, one album with Elizabeth Paddon, one album with Cindy Ashton and one album with Angus Sinclair.
(Pictured: Marque Smith in concert with London Symphonia, The Sounds of Home, December 6, 2025.)
Your social media posts suggest that you are a very busy musician. What projects are you currently pursuing? Do you have any gigs coming up this month or two you would like our readers to know about?
I have a concert on Saturday, December 13 in London with London Gospel Collective and one on Saturday, December 20, with Maggie Grace and Guitar Gord in Port Stanley. There will be more in 2026.
In addition to your musical endeavours, are you involved with any other arts organizations or activities in the London community?
I am a collaborative pianist at the Lester B. Pearson School for the Arts in London. I occasionally perform for The London Arts Council, as well.
Is there anything else you think our readers should know about Marque Smith the musician and Marque Smith the individual?
I am the music director at Grace United Church, Sarnia and have been since October 30, 2022. I have been happily married to my husband, Andrew Koornstra, since September 28, 2024.
All hail the rise of craft beer brewing! The feared rival to the big guns of Labatt and Molson, which once ruled the Canadian brewing industry for over a century, has dug deep roots throughout the province, with a handful of fine breweries taking up residence in London.
My local is Storm Stayed on Wharncliffe Road, approaching its eighth year in 2026.
Like most craft breweries, Storm Stayed engages its community with a wide variety of events, ranging from a mom and kids time to the music of opera. And do I need I advise you that there is beer available for those of a certain age?
Snaggle, a six-piece jazz fusion band from Toronto, took up residence on November 25; their second engagement at Storm Stayed within the last twelve months.
They have been defined as a “cross between Miles Davis and Rage Against The Machine” with a nod to American jazz fusion band Snarky Puppy.
In the words of band leader, keyboardist Nick Maclean, “expect performances swinging between moments of quiet clarity to cataclysmic bursts of energy, worthy of a crumbling galactic empire.”
Adding to that attack of a ‘galactic empire’ is Jay Yoo on electric guitar, Matt Gruebner on bass, and Adam Mansfield on drums. Fronting the entire musical onslaught are the Ali brothers, Brownman on trumpet and Marcus on tenor saxophone.
So, what is it like for musical siblings to perform and record together? Marcus Ali tells me, “He’s five years older than me, so I was in high school when he was in university. We played tunes around the house, but by the time I got out of high school, we were starting to gig together and eventually began getting calls to play as a ‘horn section.’ We grew up listening to the same music, so we have an instant connection.”
Marcus adds, “We are anomalies in our family. Our parents were math and science teachers. They moved to Canada from Trinidad as my Dad saw the future and wanted to work with computers. We grew up in a house that was full of music. Dad listened to a lot of classical and calypso and loved Baroque music. My mother loved Sarah Vaughn, Nancy Wilson, Joe Williams and Count Basie, so we had all of that music ringing in our ears.”
So, here’s to parents!
(Photo Credit: J. Bruce Parker.)
It was also the ether of the Canadian airwaves permeating the Ali household, specifically station CJRT FM, which offered the music of Moe Koffman and the Boss Brass. The brothers absorbed it all.
Band leader, Nick Maclean, began as a music student at Humber College. In his fourth year, he was required to create a recording project and the essence of ‘Snaggle’ was born in 2012. Over time, the band has evolved and expanded. Nick refers to the current lineup as his “dream team” wound up tight with a “ton of synergy.” And it shows!
Nick tells me, “Inspiration was from my grandfather. He wasn’t a musician, but he introduced me to jazz. He introduced me to Louis Armstrong, Fats Waller, Glenn Miller, Duke Ellington and Count Basie. My high school years were filled by listening to all that. When I got to Humber, I discovered more modern jazz bands which directly affected the sound of Snaggle like Weather Report, Brecker Brothers, electric era Miles Davis, Return to Forever and the Mahavishnu Orchestra. One of my big touch stones is Herbie Hancock.”
(Photo Credit: J. Bruce Parker.)
Now there is a musical pedigree!
Describing them as an ‘up-tempo jazz fusion band’ does not do them justice. Tight? Like a Ludwig drumhead! They do not proceed with caution, but rather digging a groove and working it like a coal mine.
Composer, arranger, producer of Browntasauras Records and trumpet player, Brownman Ali embraces the work of the electric Miles Davis era. He is a protégé of the mighty Randy Brecker, who referred to him as “One of the next great voices in the new generation of jazz improvisers.” Adding to the natural sonics of the saxophone, Brownman often incorporates the Boss ME-50, a pedal unit designed for electric guitars. With the added effects of modulation, reverb, echo and delay, his sound becomes stratospheric.
Guitarist Jay Loo does not get lost in this brass onslaught. He cuts through cleanly, given ample opportunity to stretch out his skill and musical legs on his Fender.
In the rhythm section, Matt Gruebner on five-string bass initiated several songs, bringing his melodic sound to the forefront.
Rounding out the rhythm section, drummer Adam Mansfield holds it all together. No drum solos, just great timekeeping, locking it all in.
On this tour, the music is inspired by the writings of American science fiction author, Issac Asimov. So, without hearing a note, I am a bit lost. Outside of ‘Star Trek’ and its many incarnations, I am not a huge science fiction fan. The only Asimov book that I own is his guide to the works of Shakespeare. Yes, he actually did write that.
Nick Maclean tells me he was introduced to the writings of Issac Asimov by Brownman. Being a science fiction fan, he connected immediately and eventually read all fifteen novels of Asimov’s ‘Foundation Universe.’ The huge anthology tells the future of humanity and the rise and fall of the human galactic empire.
Nick explains, “Things Asimov was writing about in the 1950s, we are starting to deal with now, especially the rise of AI. I find it all an incredible and fruitful source of inspiration for composition. So, all of the compositions that we are playing on this tour and that we will be recording are inspired by places, people, events, and ideas from those 15 novels”.
The song, ‘Twilight of Civilization,’ begins as a plaintive call from Brownman’s trumpet. It quickly grows into an aggressive pedestrian strut, backing down somewhat when brother Marcus brings in the voice of his tenor. It rumbles along, very tough, very urban, but surprisingly, very softly, reminiscent of the theme of loneliness and marginalization of American composer Aaron Copland’s ‘Quiet City.’
‘Lonely Man Robot’ seems to summon the tenderness of Chet Baker’s trumpet with Nick carefully meandering on his Rhodes keyboard in quiet contemplation.
Science fiction, like jazz, can be considered a niche genre. Both have fans which are vast and loyal but tend to scamper into the sanctity of darkness when illuminated. So maybe it makes sense to blend the two. I mulled over this notion while studying and forgetting the sequence order of my beer flight.
Their two sets were made up of entirely original material: no covers.
Snaggle, at this stage in their musical evolution and on this tour, retains the essence of jazz fusion from the 1970s and, with the help of Issac Asimov, propels it into the next century. Their sound is big, bold, engaging, and tough as nails.
Every single city around Canada has people/bands that you can consider “Canadian Rock Royalty”. Sarnia has MaxWebster/Kim Mitchell, Hamilton has Tom Wilson/Junkhouse and Teenage Head, Toronto has RUSH/Rheostatics/Triumph, Vancouver has Bryan Adams/54-40/Bif Naked, and London has Demics, Helix and 63 Monroe! As mentioned in previous reviews, I am a local sound engineer, so I have gotten to work with just about every local musician at some point, and the one artist that has always left me awestruck was Scott Bentley, aka “Steven R Stunning” of ’63 Monroe.
Mr. Bentley was the former manager and/or owner of three great London Venues, Key West, Big Bobs and the Electric Banana (the latter being where I got to see Seattle band “Hole” and meet Courtney Love et al) and he was also the creator of the “What’s the Poop Awards” which at best was a tongue in cheek look at the “best” London had to offer in entertainment. Every time I worked with ’63 Monroe, I was impressed by Steve Stunning’s towering presence, sometimes partially dressed in drag; they were the reigning kings (queens?) of Glam Punk, born of the 70s with one foot always firmly planted there.
(Pictured: Scott Bentley, aka “Steven R Stunning” of ’63 Monroe.)
So now in 2025, I was asked to review the LP by Scott Bentley’s latest project, “Stunning”. At first glance, it’s a supergroup of London area musicians including the aforementioned S.R.S., plus rock solid drummer Brad Lavard (Twin Fin, ’63 Monroe), the low-slingin bassist extraordinaire Oscar Macedo (Rizdales, Rumblebees, Burnt Reynolds) and on guitar duties there’s Tim Thompson (Ugly Stepsisters, ’63 Monroe, Aces Wild) and Paul Sguazzin (Freekshow, Before the Damned), with all joining in on vocals throughout.
On deeper exploration of their debut album “Fukk you Rock n Roll, I love you”, this album is a total love letter to the late 70s groups that revolutionized music at the time. All over this record are little nods to power pop, punk rock, glam rock, and then some straight garage rock, paying tribute indirectly to bands like Iggy and The Stooges (who actually gets a mention in one song), Sex Pistols, Ramones, Cheap Trick, MC5, The Cars and New York Dolls with an added tribute to the King of Rock and Roll himself, Elvis A Presley (“Elvis” on side 3)!
This album is super fun. It’s something I could hear the cast from “That 70’s Show” spinning in the basement after getting colossally stoned and ordering too much pizza! A bunch of kids sitting on the floor, records scattered about and the scrapes and scratches on one cover from where the last hash joint was twisted up, with everybody looking and feeling cool. But this is not the 70s, and the musicians on this album are far from being kids, most of them having raised kids now, though it doesn’t slow down their ability or willingness to ROCK THE F*** OUT!
The musicianship is phenomenal, and Steven R Stunning himself, the band’s namesake, has not lost a bit in his voice over the years. As I mentioned earlier, he towers as a “6’3” mean ole rocknroll (sic) machine” and carries a larger than life presence on the stage. I’ve seen all of these guys somewhere at some time in the past, and I know them to be monster players in whatever units they were in. As Stunning, they bring together all of the best parts of their time in the other bands and add it to what may be akin to a big old rock and roll melting pot.
I like all of these songs; they are mostly fun romps to party to, though some with serious themes of revolution and making change in the world. A standout for me is Loaded and Lonely, which features the voice of Tara (aka Mrs Stunning) dropping the line “Whatever!” which oozes with sarcastic sass! It’s essentially a pop-punk version of Billie Eilish’s now-iconic “DUH!”. Because I know Tara and knew her voice, I accidentally spit out my drink laughing when I first heard it. It’s a fun song overall.
Two cover songs also made their way onto this album in the form of the Ginger Wildheart & Courtney Love collab called “Honour” and UK’s “The Subways” banger “Rock n Roll Queen”.
The other big highlight for me is the excellent album closer and title track “Fukk You Rock n Roll, I love you”. The song is pretty much about kids with a dream to make rock and roll an integral part of their lives, doing whatever is necessary to be around it. It’s a tribute to all of the shows thrown together with several bands to share the wealth of an audience, the little venues that dared to welcome punk rock onto their stages for the first time, the vans that took them from city to city breaking down constantly, the fans that showed up and made it all worthwhile and even a little shot at the classic grumpy sound guy character. That’s all neatly packed into this one little song.
This album is a solid offering at 18 tracks over 2 LPs, one of which is a picture disc of a Pepperoni pizza! Just over an hour of total play time, which is best listened to very loud!
This Rock and Roll adventure gets 5 out of 5 on the pizza slice scale. To quote Steven R. from “Night Eater”: “Live fast, Rock Hard and don’t let those bastards grind you down!”
NOTE: On Sunday, December 7th, the Palasad Socialbowl will come alive with the 13th Annual 63 Monroe Toys for Tots extravaganza. This benefit concert will feature 13 of London’s premier Punk and Rock n Roll acts.
Yes, I know The Beat Magazine publisher has dubbed me a local scribbler about “classical music” – but the London Symphonia concert on Saturday night doesn’t look as though it fits into that niche until you read about the organizer, the soloists, and the choir and orchestra players who will bring that stage alive with an authentic greeting of the season!
Care to glance at The Sounds of Home program?
Snow (from White Christmas) Music and lyrics by Irving Berlin. A Place Called Home (from A Christmas Carol) Music by Alan Menken. Lyrics by Lynn Ahrens. On the Street Where You Live (from My Fair Lady) Music by Frederick Loewe. Lyrics by Alan Jay Lerner. It All Fades Away (from The Bridges of Madison County) Music and lyrics by Jason Robert Brown. I Love the Way (from Something Rotten). Streets of Dublin (from A Man of No Importance), and many more classic selections from the stage and celebration.
“Classical”- I don’t know- but I DO know that this is ART MUSIC with roots in church choirs, jazz clubs, and musical theatre, carried by the colours of a live orchestra. It challenges, delights- and empathizes – and it’s brought to you by magnificent performers with roots in this community.
(Pictured: Alexandra Kane.)
Do you know Alexandra Kane? She’s a Music graduate of Western University, but also holds degrees in Communication from Fanshawe and in DEI from Cornell (I wonder if that program still exists in Trumpland?). She is a music director, singer, activist, TV producer- and you already may have witnessed her incredible work at the Grand Theatre.
If you’ve lived in this area for a while, you know Olivia Sinclair-Brisbane. Born and raised in London, Olivia began her career at the Grand Theatre in Annie at the age of 12. From Original Kids and Amabile Youth Choir to attending H.B. Beal Secondary School and participating in the Grand Theatre’s High School Project, Olivia went on to Sheridan College for Musical Theatre Performance. From there, four seasons at Stratford in Cabaret, Mamma Mia, and Something Rotten.
(Pictured: Olivia Sinclair-Brisbane and Henry Firmston.)
Henry Firmston grew up in London, where he performed in four seasons of the Grand Theatre’s High School Project (2011-2015) and for two years in Beal Musical Theatre. He’s spent the last seven seasons performing at Stratford, in shows like The Music Man, Rocky Horror, Billy Elliot, Little Shop of Horrors, Chicago, Spamalot, Annie, and Dirty Rotten Scoundrels.
(Pictured: Tiffany Deriveau.)
Tiffany Deriveau All right- not a Londoner but a Windsor-born performer of Afro-Haitian and Indo-Guyanese heritage. She has over twenty-five professional credits across stage, film, and television. She’s appeared in productions with Mirvish, Stratford, Soulpepper, Charlottetown Festival, Drayton Entertainment, and the Grand Theatre – and her screen credits are from Disney, Netflix, NBC, and MTV.
(Pictured: Trevor Patt.)
Trevor Patt is another Londoner who has been in professional theatre now for over fifteen years after his start in London with Original Kids, The Grand Theatre High School Project (‘06,’07), and Beal Music Theatre. He then went on to graduate from George Brown College’s ballet program and Sheridan College’s Music Theatre program. His versatility has amazed audiences from coast to coast and during six seasons in Stratford – Spamalot, The Rocky Horror Show, and the North American premiere of Shakespeare in Love.
And there’s a choir too – the London Gospel Collective!
Who are they? Let’s ask them:
We are a diverse, spiritual community uniting through the power of worship and gospel music.
We arrange and perform gospel songs which inspire others through messages of hope and thanksgiving. We sing to worship and connect spiritually with the City of London, particularly its Black communities. The people in the choir and the songs we sing emphasize hope and unity through faith.
Our city’s symphony, some of the brightest performing stars London has nurtured, and a cultural tapestry that will make you even prouder of being a Londoner, will be on stage at the Metropolitan Church on Saturday night. Be part of it!
IF YOU GO:
What: London Symphonia presents The Sounds of Home.
When: Saturday, December 6, 2025, at 7:30pm.
Where: Metropolitan United Church, 468 Wellington Street, London, ON.
“In an orchestra, the whole is greater than the sum of its parts. Together, we can create something truly extraordinary.” – Yo-Yo Ma
And looking at this recent photo of the London Youth Symphony on that beautiful stage at The Met below, these words resonate.
(Pictured: London Youth Symphony.)
They bring back sweet memories: Taking my stoic 12-year-old son and his bassoon to an audition with conductor Jerry Summers over 30 years ago. Wondering how he’d get through the chosen piece, some scales on that gigantic piece of pipe, and then a piece of sight-reading. When he was accepted, there were cheers from his nerdy parents and a chocolate cake at Sebastian’s on Richmond.
And then his mom started over 30 years of volunteering for London’s youth orchestra, thankful for what orchestra playing provided for her own kids.
Oh, the Londoners in LYS whose performances continued to enrich our lives ~
String players like Alex, who went on to Montreal’s Symphony.
Andrea, who is now part of the Montreal ensemble she created: collectif9.
Susan, who left London to study at Oberlin and was principal cello in Louisiana before returning to London to teach and inspire.
Becky, who played in a Polish salt mine- and the Krakow Cathedral – but now delights audiences in Kitchener-Waterloo.
But equally inspiring- the LYS musicians who used their talents in other fields ~
Steve, who adds fire to the local community orchestra while completing his epidemiology degree.
Sharon, who started her own Suzuki school to help generations of little ones flourish.
Ana, a dedicated therapist who also plays her violin in LCO.
Mary, the oboist- member of the first LYS over 60 years ago, still sets that tuning A for the community orchestra.
So why am I indulging in personal memories as the first LYS concert of Season 2025-26 begins?
Because I find the power of the music these young people rehearse, the energy that their conductors and mentors provide their efforts, and the willingness of the audience- even non-family members – to offer them applause, one of the most powerful beacons of hope in a world that is showing the distressing speed at which values can be lost.
Only this past weekend, some of you might have seen this demonstration by some gentlemen across the Wortley Road Bridge in London.
This group announces on its website that The Second Sons is a men-only, Canadian white nationalist group. The group operates chapters throughout Canada, using gyms as meet-up spots and to train their fitness via martial arts. The group appears publicly in white masks and sunglasses, similar to the Patriot Front, and has adopted a modified version of the Red Ensign as its logo.
What would they and their “Remigration Now” banner make of the LYS kids (and their supportive families), whom you can hear this Saturday night? What would they learn from the Kims, Lees, Sanatanis, Wongs, and Smiths who create beautiful harmony and stirring rhythms with notes put together by composers around the world?
Overall, the discipline and collaboration required in classical music ensembles nurture well-rounded individuals who are socially aware, emotionally mature, and cognitively equipped, qualities that are invaluable for sustaining democracy and community life. This makes the London Youth Symphony’s first concert not only a musical event but a celebration of these deeper civic and personal benefits.
But as Daniel Barenboim reminded us, “An orchestra is not an orchestra without the musicians, but the musicians are not an orchestra without the audience.”
(Pictured:Argentine-Israeli classical pianist and conductor, Daniel Barenboim.)
Among a gazillion other accomplishments, Daniel Barenboim worked with the late Palestinian scholar to create a youth orchestra of young Israeli and Arab musicians. This ensemble was created to show that music can break down barriers once thought insurmountable. Their commitment is to showing that bridges can be built if we listen to each other’s narratives. You won’t be hearing the West-Eastern Divan Orchestra on Saturday night, but you WILL be part of building bridges and bearing witness to young people merging their right and obligation to create something exquisite for each other and for you.
(Pictured: LYS Conductor, Ben Bolt-Martin.)
And what scores will LYS Conductor Ben Bolt-Martin be bringing to life with his baton- and his dedication to London’s musicians? Some of them will be familiar to you – and I’ll even add some links to previous performances if you’d like to get your expectations ready:
There’s “Nimrod” from Enigma Variations — Elgar
Elgar’s “Enigma Variations” began almost as a private joke at the piano, when he started improvising little musical caricatures of his friends to amuse his wife after a long day of teaching and routine work. Each variation is a musical “portrait gallery,” where you can actually hear personalities, inside jokes, and even remembered conversations, yet the whole piece is wrapped around a secret hidden theme that Elgar claimed, “goes through and over the whole set, but is not played” and that he took to his grave without ever explaining. The “Nimrod” was written about a friend, but its slow, gentle start and rise to glorious sound have made it a favourite selection for funerals!
And what about Capriccio Italienne -Tchaikovsky?
Peter Ilyich’s love life was the pits at that time, but Tchaikovsky’s Capriccio Italienne was composed during that dark and turbulent time in his life, bursting with the vibrant energy of the Roman Carnival he witnessed firsthand. The piece captures the bright colours and lively folk tunes of Italy as Tchaikovsky absorbed local street music and dances, creating a joyful, almost theatrical celebration of a city that stirred something vital in his sensitive soul.
And are you ready for Academic Festival Overture – Brahms?
Will you catch its irony? He offered it as a thank-you for a new degree – an honorary doctorate- and gave the bigwigs a rousing potpourri of boisterous student drinking songs rather than a solemn academic piece. He used four drinking songs and ended with “Gaudeamus igitur,” a centuries-old student anthem meaning “Let us rejoice, therefore, while we are young,” capturing the mischievous, playful spirit of youth amid a formal academic celebration.
I‘m sure we’ve all heard this one, too – Overture to Der Freischütz – von Weber
Are you ready to take the risk of Weber’s overture to “Der Freischütz”? It stands out for how it dramatically sets the scene for the opera’s dark romantic tale of supernatural bargains and moral struggle, weaving together actual themes and motifs from the opera—especially the eerie diminished seventh chord associated with the devil figure Samiel and the lyrical hunting horn calls—into a vivid musical narrative.
Your openness of mind, your willingness to learn, and your celebration of some of London’s most inspiring young artists are gifts that you have the power to give and receive by your presence. An orchestral performance is a collaboration between the conductor, the musicians, and the audience. It is a shared experience where everyone involved becomes a part of something greater than themselves. It is a connection of souls, united by the power of music.
IF YOU GO:
What: London Youth Symphony presents Old Friends and Overtures.
When: Saturday, November 29, 7:30pm.
Where: Metropolitan United Church, 468 Wellington Street, London, ON.
Compiled by Richard Young, Publisher & Content Manager, The Beat Magazine 2025
WE’VE GOT LIVE THEATRE!
London Community Players present: Deathtrap By Ira Levin Directed by James Patterson Produced by Anita Goodfellow
A thriller about thrillers—and the deadly games writers play.
Sidney Bruhl’s Broadway career is failing fast… until a student sends him the perfect script. What follows is a suspenseful, twist-filled rollercoaster of betrayal, manipulation, and murder. Who’s writing the final act—and who won’t live to see it?
Twists. Turns. Typewriters.
The most diabolically clever thriller ever staged.
Theatre Tillsonburg presents Ken Ludwig’s Twas the Night Before Christmas, November 20-23, and November 27-30.
A festive comedy full of mischief, music, and holiday magic! A mouse, an elf, and a spunky young girl team up to help Santa save Christmas in this wildly entertaining holiday adventure. Packed with clever wordplay, wild characters, and heartwarming cheer, it’s the perfect outing for the whole family.
What:Disney’s Frozen:The Broadway Musical, presented by The Grand Theatre Where: Spriet Stage at the Grand Theatre When: November 18th to January 4th, 2026 Tickets:Disney’s Frozen | The Grand Theatre
Kettle Creek Players presents The Wicked Witches of Oz Pantomime this Friday, November 28th and Saturday, November 29th.
Wicked Witches of Oz is a British Panto written by Peter Nuttall with permission from Lazy Bee Scripts. It’s a hilarious take on the story of The Wizard of Oz that is fun for all ages.
Shut The Front Door: Grinch-Prov, Friday, November 28.
Picture a stage where your wildest holiday ideas come to life! From mischievous Grinches to cheerful spirits, every suggestion sparks hilarious moments. Bring your friends and family for a night of belly laughs you won’t forget!
Don’t miss out on the fun—grab your tickets early! Ready to spread some holiday cheer? Drop your quirky suggestions in the comments below! Let’s make Grinchprov unforgettable!
Original Kids Theatre Company presents Rodgers and Hammerstein’s Oklahoma: Youth Edition, Nov. 27-30, Spriet Family Theatre, 130 King St. (Covent Garden Market, 2nd fl), London, ON.
A high-spirited rivalry between local farmers and cowboys provides a colourful background for Curly, a charming cowboy, and Laurey, a feisty farm girl, to play out their love story. Their romantic journey, as bumpy as a surrey ride down a country road, contrasts with the comic exploits of brazen Ado Annie and hapless Will Parker in a musical adventure embracing hope, determination and the promise of a new land.
Liam Grunté Theatre & FPT London present It’s A Wonderful Life, A Live Radio Show, November 26-29, on the Grand Theatre’s Auburn Stage.
This timeless classic about a selfless man, George Bailey, is brought to life as a live radio show.
When life gets in the way, George sacrifices his own ambitions for the good of the community. It’s Christmas Eve, and a cruel nemesis has put the reputation of George and his father’s business in jeopardy. George is in a desperate condition, and an unlikely guardian angel comes to his aid, but will it be enough to make George see that it’s really a wonderful life?
The Aeolian Hall presents Emm Gryner, Friday, November 28, at 7:30pm, 795 Dundas St, London, ON
Emm Gryner is a 3-time Juno Award-nominated Canadian singer and multi-instrumentalist. She has been sought after by David Bowie and Def Leppard to sing and collaborate with them on tour and on recordings, including the new Stripped Version of “Pour Some Sugar On Me” featuring the Royal Philharmonic Orchestra. Emm also helped make the first music video in outer space when Chris Hadfield enlisted her to create a new version of “Space Oddity”, which was partially recorded aboard the International Space Station. Emm’s new album “Business & Pleasure” is a foray into yacht rock and features an all-star list of Nashville musicians who have worked with Michael McDonald, Hall & Oates, Taylor Swift and Toto. Emm is constantly crossing genres and defying the odds of what is possible in the music industry as an independent female recording artist.
Anne Moniz & Friends at the Dawghouse Pub and Eatery, Friday, November 28, at 9:00pm. 699 Wilkins St, London, ON.
London singer-songwriter Anne Moniz (from such bands as Tell It To Sweeney and Thames Rivieras) returns to The Dawghouse Pub & Eatery for the last time in 2025! Accompanying her is multi-instrumentalist Daniel Oniszeczko.
Enjoy a full night of original acoustic-driven music featuring special guests, including indigenous Toronto artist Nyssa Komorowski.
Betamaxx Live 80s Matinee at the Richmond Tavern at 3:00pm. 370 Richmond St, London, ON
Say Anything to your pals while dancing and singing along to your favourite 80s New Wave/Post Punk/New Romantics songs!
Matinee show, 3-6pm. Day drinking on a Saturday – what could be better?
No cover.
The annual Red Scarf benefit concert returns to London Music Hall on Saturday, November 29, hosted by Queen Priyanka and featuring performances from SHEBAD.
Every year, music artists take the Red Scarf stage to ring in World AIDS Day and raise critical funds in support of the Regional HIV/AIDS Connection (RHAC). As a special celebration of RHAC’s 40th anniversary, this year’s show is double the entertainment: Hosted by international popstar and drag performer Priyanka and featuring Indie music group SHEBAD.
FIESTA LATINA THIS 𝐅𝐑𝐈𝐃𝐀𝐘 𝐍𝐎𝐕. 𝟐𝟖𝐓𝐇 INSIDE 𝐏𝐄𝐏𝐏𝐄𝐑𝐌𝐎𝐎𝐍! LATIN ELEMENT DANCE BAND – DJ ORLANDO VALENCIA IN THE HOUSE! 10PM – GREAT FOOD – LATIN MUSIC – FREE PARKING! 1100 COMMISSIONERS RD. E. LONDON ON.
The Strands at the Eastside Bar and Grill, Friday, November 28th, 750 Hamilton Rd., London, ON It’s a full night of Rock hits with a punk rock twist. 9pm Start. Cover $10.
Kevin’s Bacon Train at the Palasad Socialbowl, Friday, November 28, at 8:30pm. 777 Adelaide St. North, London, ON.
Kevin’s Bacon Train is a high-energy bluegrass band that blends down-home picking with a cheeky sense of fun. With driving banjo, tight harmonies, and a sound that’s equal parts front porch jam and festival mainstage, they get audiences clapping, stomping, and grinning ear to ear. Whether you’re a die-hard roots fan or just love a good time, Kevin’s Bacon Train brings the kind of infectious, foot-stompin’ joy that turns every show into a barn-burner.
The Elder Brothers at The Wortley Roadhouse, Sunday, November 30, at 3:00pm. 190 Wortley Rd, London, ON.
The Elder Brothers close out November with a matinee on Sunday, November 30! The show starts at 3pm. No Cover.
Dallas Smith and his Band at Centennial Hall, Saturday, November 29, at 7:00pm. 550 Wellington St. London, ON.
Tickets $ 69.00 + TAX & S/C $1.00 from every ticket will be donated to Salvation Army Toy Mountain
London Youth Symphony presents Old Friends and Overtures, Saturday, November 29, 7:30pm, at Metropolitan United Church.
Program:
“Nimrod”from Enigma Variations — Elgar
Capriccio Italienne -Tchaikovsky
Academic Festival Overture – Brahms
Overture to Der Freischütz – von Weber
Tickets: Adult – $15.00, Students – $5.00. Available at the door or londonyouthsymphony.net
London Pro Musica Choir presents Texture: Beauty for Dark Times, Saturday, November 29, 7:30pm, at St. James Westminster Church, 115 Askin Street, London, ON.
An a cappella concert that celebrates the music and influence of 16th-century Italian composer Giovanni Pierluigi da Palestrina (1525-1594) and Austrian composer Anton Bruckner (1824-1896).
The program features Palestrina’s Missa Papae Marcelli: an intricate, exquisite work written in defiance of a papal edict demanding that all sacred music be simple and stark. Our program will celebrate this work and incorporate works by the German composer Anton Bruckner. Bruckner lived 300 years later, yet his music rings with the old master’s influence and style. With this unadorned, a cappella program, we, like Palestrina, stand in defiant defence of the necessity of beauty in dark times.
Anton Bruckner was a devoutly religious man and composed numerous sacred works. He wrote a Te Deum, five psalm settings (including Psalm 150 in the 1890s), a Festive cantata, a Magnificat, about forty motets (among them eight settings of Tantum ergo, and three settings of both Christus factus est and Ave Maria), and at least seven Masses. There will be five selected a cappella works by Bruckner in this concert.
Celebrating original music and art from the local community as we raise funds to support the ongoing work of Mission Services of London, at Valleyview Mennonite Church on Saturday, November 29, at 6:00pm. 170 Melsandra Ave, London, ON.
->Featuring several short music performances by local musicians ->Art silent auction ->Art silent auction starts at 6pm. Music starts at 7pm. ->$10 entry + donation* online or at the door (https://CreativityandCommunity.eventbrite.ca) ->Refreshments available
Music Lineup Featuring: Adair Meehan Sina Khosravi Sharon Bee Lynn Davis Bertie Derek Martin Rayne Vitorino Dias & David Rayo
Art Silent Auction featuring various local artists.
All donations are to the Valleyview Mennonite Church: Missions Fund. www.valleyviewmc.ca/content/missions-fund. The Valleyview Mennonite Church Missions Fund will make a donation to Mission Services of London equivalent to the proceeds raised at this event. Tax Receipts are available for any donation provided above the $10 admission fee.
Lisa Johnson’s incredible solo exhibition, Full Circle, will be on display until November 29th at Westland Gallery
by Richard Young, Publisher & Content Manager, The Beat Magazine
Silver Spotlight Theatre, London’s group for performers aged 55 and up, presents its fourth musical, Showtune, celebrating Jerry Herman’s work this December.
Like the group’s previous shows – Babes In Arms (2023), Grease (2024), and Into The Woods (2024) – it is expected to sell out.
The Beat Magazine spoke with Showtune’s Director and Silver Spotlight Theatre co-founder, Rick Smith, about the show and the group’s move towards incorporating itself as a not-for-profit organization. The following Q&A Interview has been edited for length and clarity.
(Pictured: Rick Smith, Showtune director and co-founder of Silver Spotlight Theatre.)
Q. Could you review for our readers how, when, why, and by whom Silver Spotlight Theatre came into being?
Just before COVID locked us all safely away at home, Art Fidler, now affectionately called the ‘grandfather’ of Silver Spotlight Theatre, approached me, the then President of Musical Theatre Productions, about an idea of establishing a wing of MTP dedicated to people in an older demographic (55+). We met with Kathy Smith, who directed us to the Ontario Government Grant offerings to launch this untested idea. We were fortunate enough to receive funds from their Seniors Living Grants. Mary-Ellen Willard, one of Art’s former students, offered the services of her company, AdHome Creative, to create a new logo and support the visuals used for our production. From there, we floored it, and away we sped toward the big reveal. Art and I took the lead, directing the first production, Babes In Arms, with Kelly Holbrough producing, Janice Wallace as Musical Director, and Candy Robinson as Stage Manager.
Q. What role does SST play in London’s theatre community?
There are several outlets for London youth to gain theatre experience through Original Kids, London Youth Theatre Education (LYTE), Arts 4 All Kids, and more. For individuals 20-54, the Palace, Musical Theatre Productions, Odessa Company and others offer lots of opportunities to get involved in community theatre. That leaves interested parties in the 55+ age range very few opportunities, especially on stage. Unless a script calls for a grandparent, the ability to learn, grow and get engaged is minimal. Silver Spotlight Theatre offers those in this demographic the opportunities that are otherwise limited. It has provided a creative outlet and a place to learn and experiment in theatre craft. More than that, it has built a solid connection for those who get involved in our productions. In post-retirement life without external interactions, it is easy to sit in front of the TV and wait. Silver Spotlight Theatre has brought those people out of their armchairs and helped them join a really connected community with regular gatherings, parties, brunches and friendships. Through the arts, seniors get to learn, create, move and connect.
Q. Can you tell me a bit about SST’s previous three sold-out productions?
Babes In Arms (2023) was the first production. It was a coming-of-age story where seniors were cast in roles of minors trying to prove themselves by “finding a barn and putting on a show”. It was filled with a lot of American Songbook numbers written by Lorenz Hart (The Lady is a Tramp, Where or When, My Funny Valentine, and more).
That was followed by the ever-popular Grease (2024), where again seniors were performing as teenagers from the ‘50s and singing the memorable tunes from the show, Greased Lightning, There Are Worse Things I Could Do, We Go Together and more.
To mix it up a bit, the third production was Stephen Sondheim’s Into the Woods (2024), where we turned our seniors into fairy tale characters and really tested them by performing it In the Round, which was a new concept for many of the cast.
Finally, our fourth and final production under the MTP umbrella is Showtune, a musical review of the words and lyrics of the great Jerry Herman. Again, a new vehicle for our dedicated, hardworking teams. There is no time to catch their breath in this action-packed song and dance show
Q. Can one talk of a Silver Spotlight Theatre troupe, or are new cast and crew members added to each production?
While there are several returning cast and crew members from each show, we have had many new faces, as well as new as 55+ can be, come out to audition and reach out to get connected. We have people in our audience who meet with us during intermission or at the end of a show, asking how they can get involved. Within each show, this troupe grows and inspires new folks to try something new or re-stimulates the passion for theatre from years gone by. A lot of our members are first-time performers or backstage helpers. Some come back to the stage for the first time since high school, while others have transitioned from the standard community theatre stage to ours, bringing their experience with them to share with others in the group.
Q. Putting bums in seats is always a challenge for community theatre groups. What explains SST’s success?
I think what has made Silver Spotlight Successful is, in part, our affiliation with MTP as a brand endorsement. MTP has a long history within the London community, and with that, it brings a following. But it is also unlike that of the youth programming. Every parent and grandparent wants to see little Suzie or little Tom on the stage. SST brings out the grown children and grandchildren of those included in the production. It is an extension of what we call our family. Once they see what we can do, word of mouth spreads, and it brings in others who want to see what it is all about. There is a sense of curiosity that comes from this kind of niche group.
Q. What can people expect to see/hear if they attend Showtune? Any highlights you would like to cite?
Audiences will be thoroughly entertained with Showtune. Jerry Herman wrote the songs from some of Broadway’s biggest hits like Hello Dolly, Mame, La Cage Aux Folles and more. He was a storyteller with his music, but not as technical as Sondheim or Lloyd-Webber. People can hum along with his tunes. They consist of light-hearted and uplifting lyrics, and even the songs that have a more sombre feel have a positive message and always look on the bright side of life. The cast has grown to love these tunes and sing and dance with all their heart. I challenge audience members not to tap their toes or hum a familiar tune.
Q. Up until now, SST has operated as a branch of London’s Musical Theatre Productions. What precipitated SST’s decision to incorporate as a stand-alone not-for-profit organization?
With each production, those involved in SST productions have learned and grown. We are incredibly grateful to MTP for taking the chance on this untested concept. Without the Board’s approval and encouragement, there wouldn’t be an SST company. That said, the learnings and the growth over the past four seasons made the group realize that having the autonomy to make its own decisions was needed. We felt it was time to ‘grow up’ and take the lead for itself. There are life and work experiences that the SST followers bring with them, whether it is project management, people management, education delivery, or finance finesse. These are the skills included in this troupe that make it easy to make appropriate decisions that we can own as our own.
Q. What are the advantages/benefits of SST becoming a not-for-profit organization?
It was important for the inaugural Board to obtain a charity status. We realized under MTP that status allows for greater opportunities to obtain sponsorship and private donations. Getting a tax slip for their support of our organization makes it far more attractive for donors and sponsors to contribute. It also allows us the opportunity to be eligible for corporate and government grants. Funding is a very important element for starting any new venture, and we rely on those sponsorships and private donations to help get things off the ground. MTP was the benefactor of our previous productions as they flipped the bill to pay for our shows, so we are starting out from ground zero. The ability to offer tax slips as deductions on income taxes gives us a wider range of avenues to achieve the goal of capturing the attention of those willing to support our organization.
Q. Has an interim Board for the new group been appointed?
Yes. This was very important to the small committee working with MTP to establish longer-term visions for SST. In order to incorporate and gain charitable organization status, a Board of Directors needed to be appointed from that small group of core SST members. We elected the key board members to get the ball rolling. It was important to provide some experience to these positions to begin to establish the credibility of the Board. With our combined 60+ years of community theatre experience, I was appointed President along with Toni Wilson as Vice President. A Secretary needs to be very organized with the ability to be concise yet thorough with communications, so Cathy Weaver, a retired head of HR, was unanimously elected to that position. We knew we needed an experienced manager of finance to take on the position of Treasurer. Alex Gow has the appropriate designations and experience to ensure the appropriate accounting and tax filing is complete. And there is no need for a Treasurer without funds, so Susan McKone and Tracey Andrus, two very connected and imaginative women, were appointed to Fundraising and Sponsorship. Dan and Margo Surman hold seats as Members at Large and, although they do not have a designated portfolio, their contributions and support for these different commitments will be invaluable.
Q. What are the next steps for Silver Spotlight Theatre?
SST must establish a foundation, including but not limited to seeking sponsorship and donations, identifying a rehearsal space, and gathering SST supporters to build a strong foundation. We want to engage our members by including them in the process through committee work, brainstorming, leveraging resources and contacts to help get us off the ground. Our first official act will be holding a meeting for anyone interested in the future of SST on January 13, 2026. The time and location will be announced once we have secured a venue. Oh, did I mention we are starting at ground zero?
Q. Is there anything else you think our readers should know about Silver Spotlight Theatre and/or Showtune?
Although Silver Spotlight Theatre has stepped into the light as its own entity and, in a way, is starting anew, our core values and goals remain the same. We are still committed to developing quality performances, granting opportunities to develop performance and designer programming for education and skill development, and the inclusion of age-appropriate members who are interested in being part of our community. This is the first of our building blocks, and we will be looking to our membership to assist with brainstorming ideas to raise funds for our three, five and ten-year strategy plans. This is the first of many steps in achieving and maintaining the community that has become Silver Spotlight Theatre.
Cast:
Angie Jansen
Barb Currado
Carol Taylor-Wilks
Dan Surman
Deborah Mitchell
Holly Kinchlea Brown
Jayne Terry
Jensen Caughlin
Joanna Makinson
Karen MacDonald
Karon Dean
Lesley Andrew
Lisa Jones
Margarita Sanchez-Favro
Maria Marsh
Mitch Zimmerman
Rachelle Peterson
Rick Smith
Rob Hibbs
Steve Hobbs
Susan Dean
Susan McKone
Therese Hibbs
Creative Team:
Director: Rick Smith
Assistant Director: Nick Banks
Musical Director: Jeff Holbrough
Choreographer: Grant Statchuk
Producers: Mike Jewison and Candy Robinson
Stage Manager: Teri May
Assistant Stage Manager: Tracey Andrus
IF YOU GO:
What: Silver Spotlight Theatre presents Showtune, a Celebration of Jerry Herman’s Words & Music.
(Showtune is presented through special arrangement with Music Theatre International (MTI). All authorized performance materials are also supplied by MTI. www.mtishows.com)
(NOTE: The videos embedded in this Interview are courtesy of Brian Ince.)
Full disclosure, I took piano lessons without whimpering – but even if I put on a scruffy coat, hunched over, and had unravelling gloves on my hands – I never got into a Glenn Gould state of mind to understand the lure of JS Bach.
But then I found the confession of a man who stuck with music teaching and performance – and explained the appeal of Bach to people with souls!
Ethan Hein is a music technology and music education professor- somewhere – and his personal admission hits the right note. Here’s what he has to say about Bach and his music:
(Pictured: Ethan Hein, The Ethan Hein Blog)
“I’m not a big classical music guy for the most part, but I never get tired of Bach. This stodgy eighteenth-century Lutheran doesn’t seem a likely inspiration for a hipster electronica producer like me. There aren’t too many other wearers of powdered wigs in my record collection, and Bach is the only one in the regular rotation.
Why? When I studied jazz guitar, I was encouraged to learn some Bach violin and cello music. I learned a lot about music theory that way, but I had a surprising amount of fun, too.
Why is Bach’s music so much cooler than anything else of his time and place? There are plenty of beautiful melodies and interesting thematic developments in other Baroque music, but they’re usually buried under tweedly curlicues. I get exhausted from all the jumping up and down between adjacent scale tones.
You never get the sense that Bach is just throwing notes at you to fill the space between ideas. This spare, economic quality shows most clearly in his solo instrument stuff. The single lines spell out both the melodies and the chord progressions clearly, using the spaces between the melody notes to deploy fragments of basslines or arpeggios. Bach gives your imagination just enough data to easily fill in the rest. Leaving notes out is a great way to draw in the listener. It invites us to participate in our heads.
Bach has huge geek appeal. He favored puzzle-like musical forms, canons and fugues, where the melody gets repeated as its own accompaniment. Bach’s music is dense with references and quotations of other works, and of itself. Bach’s love of recursion inspired Douglas Hofstadter to write a whole computer science book about him (and Gödel and Escher.)
Bach was a great quoter of the popular music of his time and place: hymns and regional dances. Since most of the music he was paid to write was for church services, it’s no big surprise that Bach did so much reworking and embellishing of hymns.
You couldn’t ask for a better education in what it means to embellish a theme than to hear Bach’s lines superimposed on the simple hymns. No wonder jazz musicians love him so much; the effect is similar to the way Charlie Parker sounds improvising on a showtune. (Bach was known in his lifetime as an improviser, which adds to his jazz cred.)
There’s something very algorithmic about the rule-oriented forms he wrote in, the canons and fugues, all that complex counterpoint. Every note that Bach ever wrote is on the web in MIDI format. http://www.jsbach.net/midi/index.html His music sounds pretty decent when played by robots (though it’s livelier when it’s played by humans.)
Bach wasn’t very highly regarded in his lifetime outside of a small, devoted circle of groupies. He didn’t hit the cultural big time until a hundred years after his death. He’d probably be amazed now at his elevated stature.” (Ethan Hein)
(Pictured: TSO Chamber Soloists)
And who are the musical powerhouses that will be playing Bach on Sunday afternoon?
Their bios with details of performances, awards, and recordings can be found on websites- but what do you NEED to know?
Jonathan Crow is their “curator.” He’s also been the concertmaster of the TSO since 2011, but travels the world concertmastering for other orchestras. He teaches violin at the University of Toronto and is an avid chamber musician – a founding member of the Orford String Quartet.
What is it with oboes and London, Ontario? Sarah Jeffrey is a London girl who plays that instrument superbly. You’ve heard the oboe jokes, haven’t you?
Oboist: Did you hear my last recital?
Friend: I hope so.
Oboe: “An ill wind that no one blows good.”
Sarah, however, has been praised for her “exquisite solo work,” her “luscious tone,” and her sensitive musicianship. She’s Principal Oboe of the TSO, a teacher at the Royal Conservatory, and mom of two kids.
Kelly Zimba Lukic joined the Toronto Symphony Orchestra as Principal Flute in 2017 – but leaves a trail of US orchestras in her debt. She’s celebrated as an innovative and inspiring teacher as well as a performer. Previously a flute fellow at the New World Symphony, she has performed with the Chicago, Pittsburgh, and Detroit Symphony Orchestras.
And Christopher Bagan? He’s another tough one to squeeze into an X (formerly Twitter) post. He’s a Doctor of Musical Arts (specialising in Schonberg) who performs baroque with equal fluency. If you’ve heard the tinkle of a harpsichord at the Canadian Opera Co., it was Christopher.
Is there anything else you should know before you get to the church, on time at 3:00 p.m.? Visit: https://youtu.be/IunEDER6Mws
Only that the Brandenburg Concerto #5 – the piece that will feature the whole ensemble – is incredibly beautiful. The link above leads to a Chicago Symphony chamber performance- but T-Rex Hand Position Up – our Canadian musicians will dazzle!
IF YOU GO:
What: The Jeffery Concerts: TSO Chamber Soloists Play Bach.
When: Sunday, November 23, 2025, at 3:00pm.
Where: St John the Evangelist Church, 280 St James Street, London, ON
by Richard Young, The Beat Magazine Publisher & Content Manager
Q. What is the mission/purpose of the London Jazz Association?
To advance the appreciation of jazz music through education programs and performances in the area. We showcase jazz in our community by celebrating established and emerging talent, thereby inspiring future generations to enjoy the music we love.
Q.When was the Association founded and by whom?
The Association was formed in 2024 after the first London Jazz Festival. We received an investment from a local benefactor to run the festival, but quickly realized the opportunity to bring jazz lovers together extended well beyond the Jazz Appreciation Month of April. From that, the Association was born. Seth McNall and Jason Jamieson, along with Brian Ball, founded the Association, but Brian has since moved on to other endeavours.
(Pictured: Jason Jamieson and Seth McNall, London Jazz Association.)
Q. How is the Association organized?
The London Jazz Association is a registered charity that operates under the purview of a board of directors and other volunteers. The board is currently made up of six members, and there are several other volunteers that work on the projects overseen by those board members.
Q.Are London jazz musicians “members” of the Association?
At this time, the association doesn’t have members, per se, but the board is made up of both local musicians and advocates. There are teams of people who work with our performance, education and advocacy projects to help promote and improve the state of jazz music in the Forest City. We also help local musicians by recommending them for performances around town.
Q. I notice a lot of social media postings for musical events in the city say, “in partnership with the London Jazz Association.” Could you explain what that means?
The Association has been very lucky to have local establishments and vendors call upon us to share our contacts and expertise in order to hire local musicians for their events. Several restaurants and venues reach out to us and ask us to help organize and book their jazz nights, concert series, and other events. This has helped us establish a variety of different jazz series across London that allow for quarterly, monthly, and even weekly jazz events for the local music fans to enjoy.
(The Peppermoon Restaurant is one of the London Jazz Association’s partners.)
We have fantastic relationships with our retail and performance partners, and since our beginnings, we have held performances at over a dozen locations, including soft-seat theatres, restaurants, bars, and other venues, including Wolf Performance Hall, Toboggan Brewing, Peppermoon Restaurant, West Social, Highland Golf and Country Club, and many more.
Q. Does the Association sponsor any special annual events or series of shows?
The London Jazz Association is currently running a three-concert fundraising series. Our first event was held on the afternoon of Sunday, September 28th, and featured London’s own Denise Pelley with Toronto trumpet legend Kevin Turcotte and an all-star band. The show was a great success, and we’re hoping for the same at our next show on Thursday, November 27th, at 7pm at the Highland Country Club. That performance is a kick-off to the holidays with singer Paul Zubot and some incredible local musicians backing him up. Then, on March 26th, we’re running our third fundraising concert, and this time we’re featuring something never before seen in the region. Local musicians will be performing Miles Davis’s “Birth of the Cool” album in its entirety that night, as well as premiering several never-before-heard pieces by local composers. These concerts are meant to be showpieces for local and regional talent and promise to be something never experienced before in our beautiful city. Tickets for all of those concerts can be found at www.jazzassociationlondon.ca
Q. Could you identify some of the well-known London jazz musicians who have played concerts/engagements/events sponsored by the Association?
We’ve featured Denise Pelley, Rick Kish, Nevin Campbell, The Jitterbugs, The Baddest Big Band, Laurraine Sigouin, Steve Holowitz, Sonja Gustavson, The Jazz Collective, and the Seth McNall Sextet, to name a few.
Q. What type of relationships does the Association have with other London organizations like the London Music Office, London Musicians’ Association, Forest City London Music Awards, and others?
Over the last eighteen months, we have worked closely with many of the London organizations. We have a close relationship with the London Musicians’ Association and are pleased to be able to provide union scale wages to all of our musicians at their events. We enjoyed a close relationship with the London Music Office last year and worked together to bring an amazing jazz group from Poland to perform at the 2025 festival finale on April 30th. We’ve also worked with Dundas Place and Cherryhill Mall, and other city venues, to bring jazz to the people of the city for no cost.
Q. Jazz appears to be experiencing a renaissance in the London area, if the postings on social media are any measuring stick. Is Jazz finding newfound popularity? If so, with whom and why?
Jazz never died, it just evolved. When rock became the most popular genre, Count Basie did a Beatles tribute album, and Miles Davis did jazz covers of Cyndi Lauper and Michael Jackson tunes. Jazz continues to permeate modern popular music, influencing performers like Meghan Trainor and Bruno Mars. Jazz has always been there, growing, changing, and becoming more diverse and interesting.
As for jazz’s newfound popularity in the region, I think that’s happening everywhere. The advent of AI-generated, formulaic pop tunes is making consumers crave a high-quality, genuine, live experience. People like hearing music performed in person because it satisfies their desire for authenticity while satisfying their need to be entertained. And if you want to be entertained, why not hear someone at the top of their craft, performing the music they love for people who want to listen.
(Pictured: Toboggan Brewing is another one of the London Jazz Association’s partners. Here’s a poster for one of their recent shows featuring Rick Kish & Friends.)
Q. Is there anything else Londoners should know about the London Jazz Association and its activities?
Besides the five different concert series we’re currently running, we also run a Jazz Education Program on Wednesday nights for students in grades 7-9 and 10-12. These ensembles are run by local jazz performers and educators, and they already have a spot to perform at the London Jazz Festival in April 2026. For more information, visit https://www.jazzassociationlondon.ca/lja-lab-bands
We also run a London Jazz Archive whose goal is to help preserve the vibrant jazz history of the region, right from Guy Lombardo through keynote performances from the last few years. You can see some of the videos at https://www.youtube.com/@Londonjazzarchives
The London Jazz Association podcast is just getting started, but there are two episodes up that showcase some of the local performers and their connection to the history of London jazz. You can find that on any podcast aggregator.
Lastly, anyone who wants to donate to the charity can learn everything they need to know about that at our main website.
The Beat Magazine 2025 