For inquiries, more info and/or bookings: Garrett@magma.ca or phone: 237-4349 (Ottawa)
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Hire A Jazz Ensemble For Your Next Social Event:
Comments (& links) from Former and Present Students:
FAQs Learning Jazz: -> Beginner -> Intermediate -> Advanced
Links to Other Jazz Classical sites:
Live
Jazz Performance for your events
Garrett Leaver Jazz Ensemble (photos below)
Music for your conferences, receptions, dinners, parties, openings, launches, weddings, company gatherings and private home socials.
Your event becomes more meaningful when you have live musicians to set the mood and create a warm atmosphere. Live jazz lends an air of elegance and sophistication to any event - not only with its sound but also the visual impact of the musicians and their instruments. And our repertoire can be customized to meet your special needs; we can:
¤ provide quiet music as background for easy conversation
¤ set a mood for socializing over dinner
¤ play upbeat and lively pieces for dancing
¤ perform art jazz for concert audiences
We also come in various instrumental combinations to suit your musical needs, room size and budget:
¤ Piano solo
¤ Piano / saxophone duo
¤ Piano / saxophone / upright bass trio
¤ Piano / saxophone / upright bass / drums quartet
¤ And other combinations on request
Pieces we play...
Swing - Take the 'A' Train, Satin Doll, All of Me, Autumn Leaves, Fly Me to the Moon
Latin Jazz & Bossa Nova - The Girl from Ipanema, A Night in Tunisia, One Note Samba, St Thomas
Broadway & Musical Standards - All The Things You Are, I've Got Rhythm, Days of Wine and Roses, The Man I Love, My Funny Valentine
Bebop - Scrapple from the Apple, Round Midnight, Ornithology
Cool - Take Five, Django, Line for Lyons
Modal - All Blues, So What, Mr. P.C., Footprints
Ballads - Georgia on My Mind, Summertime, Somewhere Over the Rainbow, In a Sentimental Mood, Misty
Jazz Waltz - My Favorite Things, Someday My Prince Will Come, Waltz for Debby
Light Classical - Ave Maria by Bach/Gounod, Canon by Pachelbel, GymnopÈdie by Satie, Habanera by Bizet
Places we've played ...
National Gallery of Canada (Gallery Opening and Emily Carr Exhibition)
National Arts Centre (Metropolis Project)
Canadian Museum of Civilization (Public Service International Conference)
International Development Research Centre (International Conference)
Parliament Hill (Dalhousie Alumni Association Annual Reunions)
National Library - Archives of Canada ( Tibetan New Year's Celebration )
Korean Embassy (Olympics celebrations)
Festivals, including the Ottawa International Jazz Festival, Winterlude and Tulip Festival
Hotels, including the Chateau Laurier, Westin Hotel, Wakefield Mill Inn and Sam Jakes Inn, Merrickville
Clubs, including the Royal Ottawa Golf Club, Rideau Club, Rivermead Golf Club, Chelsea Club, Ottawa Hunt and Golf Club
Popular Ottawa venues including bars, pubs and restaurants in the Market and Elgin Street, in addition to numerous wedding receptions and private parties.
People we've played for ...
Garrett Leaver's performance at our 2002 international conference reception at the Museum of Civilization was exceptional. The diverse repertoire of jazz tunes performed by Garrett's trio was warmly received by the 1,000 conference delegates who came to Ottawa from around the world. Encouraged by the crowd's enthusiastic response, the musical group played well into the night - and far past the scheduled closing of the reception. It was a proud moment for the organizing committee of the Public Services International Conference.
Morna Ballantyne
Managing Director, National Services
Canadian Union of Public Employees
mballantyne@cupe.ca
613 237-1590 Ext. 333
613 728-7368
In October 2001, I needed to hire a group of musicians to play for a crowd of roughly 400 government policy-makers and academic researchers who were attending the Fifth National Metropolis Conference, held at the National Arts Centre, in Ottawa. I had known Garrett Leaver as a performing musician for about five years at that time and had no hesitation at all in asking him to put together a group for this event. What we needed was solid playing and a willingness to use a repertoire that would suit the audience and the function. We were easily able to work with Garrett to put together the right repertoire, part of which was for a stand-up cocktail reception and part for a formal dinner. The music was at just the right level of sophistication for the conference, played with taste and style. Garrett is an unquestionably solid piano player and band leader and, importantly, he is able to attract musicians of high calibre to join him for these sessions. The conference-goers were impressed, and there is no question that their experience was more pleasurable because of the music that Garrett provided for us.
Howard Duncan
Executive Head, Metropolis Project
Citizenship and Immigration Canada, Ottawa
howard.duncan@cic.gc.ca
613 957-5916
613 741-4560
The Garrett Leaver Jazz Trio performed at the launch of our national magazine, Ascent, at the National Arts Centre, Ottawa. I would describe his contribution as follows:
Generous - listened to our vision of the event and was willing to discuss and add to it with his experience;
Accommodating - changed his program and provided technical assistance when our needs changed unexpectedly;
Tuned in - did a good job of playing the music that appealed to the age and tastes of the people that came to this public event;
Warm and engaging - has a depth of knowledge about music and entertainment. Can be the centre of attraction or unobtrusive, as required. A very fine musician whose talent is appreciated by everyone.
Utpala Pittman
Radha Yoga Teaching Centre
radha@ca.inter.net
613 236-3545
Thank you so much for playing at our wedding. The jazz created a lovely atmosphere - a perfect mix of sophistication and fun. Guests of all ages really enjoyed themselves! And thank you too for your professionalism, and for the time you took before the wedding to help us pick out and adapt songs for dances with our parents. The personal touches helped make the evening very special.
Sara and Kevin Quigley
sara.quigley@dtz.com
We engaged the Garrett Leaver Jazz Trio at our recent Law Firm Christmas Reception and were thrilled with the range and quality of the music. It created the background that we were seeking for the event - elegant, refined, yet not unduly obtrusive for those guests who wanted to focus on conversation.
Lynn H. Harnden
Emond Harnden Labour Law
613 563-7660
613 235-3509
lharnden@emondharnden.com
Having live music at a party adds a new dimension as guests interact with the performers and the music. Garrett loves to share his enthusiasm for all genres with listeners and helps make an event into an occasion to remember.
Dr. Howard Nathan
Professor, University of Ottawa
Anesthesiologist, University of Ottawa Heart Institute
613 761-4775
613 727-0825
HNathan@ottawaheart.ca
I had the pleasure of hiring Garrett to play at a special family birthday party that spanned the generations. Because of his versatility and sensitivity, Garrett provided a musical collage that spoke to all presents, young and wise alike. Garrett's playing brought an element of elegance and intimacy to the event that contributed much to its success.
Lise Lavoie
Senior Policy Analyst, Health Canada
Special Projects Division
613 952-2913
613 234-4444
Lise_Lavoie@hc-sc.gc.ca
_______________________________________________
Video and CD of live performances available on request.
For further information, personal consultations and demonstrations, free of charge: contact Garrett Leaver
Voice: 613 237-4349
Fax: 613 237-4349
E-mail: garrett@magma.ca
Web: www.magma.ca/~garrett
Mail: Garrett Leaver, 20 Thornton Ave, Ottawa ON K1S 2R9
Trio Performances:
Private Christmas Party
Museum of Civilization, PSI International Conference
Dalhousie University Alumni Reception, Parliament Hill
Private Reception, Parliament Hill
National Art's Centre: Metropolis Project Conference
Sam Jakes Inn, Piano Trio
Rivermeade Golf Club, Wedding Reception
Chateau Laurier Hotel, Wedding Reception
Quartet Gigs
Royal Ottawa Golf Club, Wedding Reception
St Joseph's Church Hall, Wedding Reception
Sam Jakes Inn, Staff Christmas Party
Duo Gigs
Cafe Jompa
Private Backyard party
Vincent Massey Park, private 50 year old birthday party
Solo Piano Gigs:
Wakefield Mill Inn, Regular friday night lounge gig
Private party in client's home
Art Exhibition Gig
Practicing at home
Is Improvisation a "gift" one is born with ?
No. Improvisation can be learned, indeed much like a langauge. There are scales, rhythms, chords specific to Jazz. Once you are using them, your playing begins to sound like jazz "language". There are structures, patterns, formulas, templates if you will, and indeed the great masters to copy. In addition. there is also your own creative explorations, once you have some understanding of how to use the "grammar" of jazz.
I think I am kind of "tone deaf", can I still play this music?
Absolutely. In fact few people are really tone deaf as such. This is a state where you can not distinguish the difference between pitches (notes). Most people can tell whether a pitch is higher or lower than a preceding one. How high or low takes some practice. That's all.
I have studied classical in the past, does this hinder me learning jazz?
In fact it helps. Not only does it give you a facility to play your instrument, it affords you understanding of the foundation of all music: rhythm, melody, harmony, expression etc., jazz included.
How would I progress through a jazz study program?
Learning 12 bar blues structure, the related chords, a blue's scale, basic "swing" rhythm and some simple "heads" (melodies eg. Ellington's "C Jam Blues) is good way to begin. From there one has a vehicle of improvisation and can now play/improvise with others.
Then learning the other main structure of jazz, 32 bar song standard, (AABA-eg. "Take The A Train") puts you well on your way. Exploring the standards of the 30's is way to learn melodic improv.
Moving into the repertoire of the 40's one learns how essential the notes of the chords are for good chordal(harmonic) improv.
Modal improv is learned through the 50's tunes like Miles Davis's "All Blues". With practice, one begins to amalgamate melodic, chordal and modal improvisation. Exploring , copying and personalizing a particular jazz performer that you like is the next step.
Intermediate players: Sample Topics of Study
Intermediate players: Okay, so you are comfortable playing some jazz standards and II V I Blues, and playing with other players. What now ? Area's that are essential:
Solo Development:: Your solos should be telling a story. They start immediately by grabbing your interest, they build in intensity and expression [and meaning, hopefully ], upon reaching a climax they come to a natural end, like the final chapter of a good book. So how to do this ? In the lessons we apply the fundemental principle of music : tension and release. This is applied by rhythm choice, chord choice, scale choice, timbre choice, melodic choice, 'space' choice, juxtaposition of these events. It is used on the micro level from the 16th note of one bar, to the macro level of , say a 7 chorus solo. In a playing application of lessons we work on your ability to "tell your musical story", so that the "listener" ( you being the first listener ) follows every note of your solo with satisfaction and anticipation as to what will happen next.
Jazz Vocabualry : whole tone scale, bebop scale, diminished scale, altered chord tones, pentatonic scales, hypo dorian, nice sounds - but now it is time to apply them to various chord progressions to make them not sound like "scales" running up and down your instrument but like a *melody* that expresses how you feel. I n my last few sentences I didn't suddenly think " oh shoot... I haven't used an adverb for 10 minutes, I better get one in quick (ly) ! " If I needed an adverb to express what I feel, I use it as part of my natural language. At an intermediate level we work on how to use the various jazz 'scales' as part of our natural jazz language. So you may play a 4 bar phrase: it is clear how moving and expressive it is, a n d after fact we can observe how you "drew from the b13th, moving through an altered dominat mixolydian, then resolving through the openness of a pentatonic" but these were just 'colours' that expressed what you wanted to say.
Rhythm: the heart of all music. Your riffs are hip and even sound lyrical. Were you swinging ahead of the beat or behind ? Did you stay within the "feel/groove" of 195 bpm? Were you phrases all over the map ? (193, 4 bars later 196 ) At this level we work on a strong rhythmic feel that tells the listener / other players which beat you are on. Anything less and your riffs lack meaning, plus it is very hard for other players to really groove with you as the "ground beat" you play is fuzzy as to it's location in space and time. There are lots of ways to improve this with rhythm studies and song abtractions that will keep you "in the pocket" for longer and longer periods of time.
Harmonic Language When the fake book chart says " F#7b13#9", can you play it in various voicings in a nano second? Would a hip alternative chord come to your fingers equally fast? In this area we look at all the applications of altered harmony, chord substitution, reharmonization, "modalizing" a standard progression. From an asthetic level, chord choice profoundly affects the improvised meoldy and opens vast levels of emotional expression by harmonic colouration.
Advanced Players: Sample Topics of Study
Advanced Players: the assumption at this level is that you are already gigging, playing publically, professionally or on the verge of doing this.
Lifting ,Transcribing solos:: Jazz like any other language is well learned by imitation. One of the best ways to do this is by lifting solos by ear from recordings of various jazz artists, both for your instrument and other instruments.(there is some good "slow -down"software out there now to help with this)Then being able to play the whole solo with the original is the next step to pick up the nuances, phrases, tone colour, rhythmic feel. It is also really good to transcribe the solo, notating it gives you a much better understanding of why the solo works.
Ensemble Interaction : As drummer, bass player, comping instrument ( guitar / piano ), horn or voice, your have very specific and traditional roles within the context of a jazz band. And there are other roles that you should be using to make the ensemble more "happening". The drummer is of course the time keeper, 'punctuator', framer of the soloist's phrases, the over all engine that drives the music forward in time. They can also play 'melodically', individual phrases, polyrhythms. The bass, like the drummer reaffirms the time keeping groove, but ties in harmonically with the piano player and the melody soloist. They can also leave the "walking fours" and play counter melodies and rhythms a la Scott LaFarro.The piano /guitar can be a harmonic "drummer", leading and following the soloist, playing counter melodies, reharmonizing the original changes. There are many more possibilities of course. For example a sax player can become the "drummer" or play vamp bass lines behind the bass players solo. Imagination is the limit.
However, the key to all this is "listening ", listening to yourself and the other players equally. Hearing each event you and the others are playing each moment of each bar. Why ? Jazz is a collective and normally demeocratic art form. Any member of the ensemble can take the song in a whole new direction at any moment. For this to work, every one must be listening. And so each band member decides in every moment: "what could I play that would most support the expression of the song as it is being newly created this time round?". And so at this level the focuss is on learning how to be an effective ensemble player.
Jazz composition: A study of composition is very important in order to learn the process of music from the opposite position of already composed pieces of music. This gives you the understanding of how the parts work in a complimentary way to make the whole. Since jazz improvisation is "composing" in moment on one level, it is the same energy you draw upon when you compose original songs. Here we work on chord progressions / harmonic colour -their cause and effect, melodic shape, motivic development, rhythmic impact, etc., starting with standard AABA structure, Blues structure and progress to other forms. Composing in various generes, modal, bebop, latin, outside, etc., really opens up your artistic potential.
Irregular Tme Signatures Tchaikovsky was using these by 1860, and certainly Paul Desmond's "Take Five" of the 1950s established the use of less common metres. These days one can easily encounter songs in 5/4, 7/8, 11/16. At this level you learn not only how play the heads naturally but how to phrase and feel your own improvisations in these asymetric groupings. In addition learn how to take 3/4 and 4/4 original standards and adapt them to these time signatures.
Rythmic and Harmonic Forward Motion J.S. Bach used this and Bill Evans too. By learning to incorporate this underlying priciple of music, your solos really began to have musical integrity. Now your phrases sound like real jazz, because the rhythmic, harmonic and melodic levels are now working in sync and follow the way the ear naturally hears music.
Garrett
Leaver, professional musician, music educator.
I am trained formally at a university music honours level. I have taught music privately and at university, college and high school levels for the last 28 years. In addition I have created and lectured continuing education courses in jazz & classical listening appreciation. I have performed throughout these years primarily in jazz ensembles.
Playing Jazz
I choose to perform Jazz music, because it requires a real time experience of personal expression: nothing else is really believeable to the listener or player. It also demands a process of transformation. What transforms ? The song itself, ('making new songs from old songs'), the listener, the performer, perhaps the process of improvisation itself. Why improvisation ? Because it puts me in the place of being entirely present and in the moment. It is indeed both extremely challenging and very fullfilling at the same time.
Teaching / Learning
My approach to teaching is one of encouraging "natural" learning. By this I mean, facilitating the student in finding their own process of learning, and progressing in their chosen goals. Knowledge and acquired ability achieved through the student's exploration is far superior than reproducing the instructor's. The instructor's purpose is that of guiding, encouraging, challenging, affirming and generally keeping the student on track.
There is so much more to playing music than just getting the right notes at the right time.
In addition to reading and playing, I also balance this out with a) "active listening/ear training", b) applied theory/harmony, c) history/context of the current songs being worked on. d) technique. I feel this gives the student a more comprehensive understanding and enjoyment of what they are playing.
I encourage accuracy in playing, but more important I feel is personalizing and expressing the music itself , beyond having the so called "perfect" performance. Music should "breathe and come alive", and to that end I often play with the student on another instrument, so it it more of an actual playing experience versus being on the spot by yourself.
Present/Former
student's comments: 
Eric: jazz bass, " ... the lessons provided me with personalized instruction that was taught in a flexible workshop style, balancing the theoretical aspects with practical application, that included assignments and drills, while challenging, were quite fruitful...provided me with the confidence and motivation to pursue my jazz studies even further"
David: jazz tenor sax - focussing on the John Coltrane 'dialect' and repertorie, and transfroming the "scale systems" into natural spoken language. Contact David
Mary: jazz piano, jazz composition, enjoying playing Monk, Bill Evans, Bruebeck. Contact Mary
Shelagh: classical piano - exploring technique and theory/harmony as a means to experssion, working through Goldberg Variations, Mozart sonatas, Kabelevsky. Contact Shelagh
Daniel: upright jazz bass player - playing professionally around town - working on Miles's tunes - Paul chamber type grooves, rhythm section support. Contact Daniel
Wendy: classical and popular piano, " I learn not only how to play piano, but how music itself really really works..." Contact Wendy
Howard: jazz guitar - focuss on standards, chord voicings, ensemble interaction, comping strategies Contact Howard
Martine: vocal jazz improvisation, scat singing, jazz piano. Contact Martine
Howard: jazz baritone sax /classical piano - playing jazz and latin standards and working on early level classical pieces. Contact Howard
Alison: classical guitar - foucussing on Bach, Pachellbel, Satie arranged for classical guitar as well as Sor,Carulli, Paganini, bringing muscialtiy into the instrument through tone production, technicque and fingering strategies Contact Alison
Francois: jazz alto sax. Contact Francois
Jean Guy: jazz & classical piano, Contact Jean Guy
Pat: jazz violin - learning to play this instrument as a "horn", exploring the theory systems for improvisation. Contact Pat
Frank: jazz trumpet - working on employing the various modal, bebop and bules scale systems to jazz standards. Contact Frank
Josh: jazz bass, "I started taking lessons with Garrett just to become more profficient on my instrument. But as the four years that I spent with him passed, he, of course, helped me with "how" to play, but also really showed me "what" to play. The knowledge of jazz theory and music theory in general was valuable to me.It not only helped me become a better musician, but helped me reach my goal of studying music in univeristy." Contact Josh
The Masters of Classical Music: Introduction / overview
An overview and listening history of Classical music traced through the unfolding periods: Medieval, Renaissance, Baroque, Classical, Romantic and the Twentieth century, exploring works by such composers as Vivaldi, Bach, Mozart, Beethoven, Chopin, Brahms, Debussy, Stravinsky, Gershwin and others. Giving meaning to forms and structures such as fugue, concerto, sonata and symphony.
Recordings, video, in-class demonstrations, listening strategies and techniques are employed to enhance understanding and enjoyment.
Attend the first class free of charge, to try it out.
The Masters of Classical Muisc:Introduction / Overview
Glebe High School, not offered this term
Fee: $ 125.00
Registration: Ottawa Carleton District School Board 239-2751
Registration:
Instructor/Info: Garrett Leaver 237-4349, E-mail: garrett@magma.ca
J A Z Z
LISTENING COURSES
Jazz Giants: Introduction - Overview
A listening history of Jazz music, beginning with African origins and progressing through the unfolding periods: Dixieland, Swing, Bebop, Cool, HardBop, Modal, Fusion, Latin, Free and modern trends. Including Louis Armstrong, Duke Ellington, Count Basie, Sarah Vaughan, Dizzy Gillespie, Thelonious Monk, Gerry Mulligan, Miles Davis, Bill Evans, Keith Jarrett, John Coltrane and others.
Recordings, film, live demonstrations, listening strategies and techniques are used to enhance understanding and appreciation.
Jazz Giants: Continuing Series [no prerequisite]
An in-depth view and listening exploration of one jazz artist each night including: Tommy Flanagan, Kenny Burrel, Steve Turre, Dexter Gordon and others. New material will be presented on the previously covered artists.
Recordings, film, live demonstrations, listening strategies and techniques are used to enhance understanding and appreciation.
Attend the first class free of charge, to try it out.
Jazz Giants, Intro - Overview: Glebe High School, Wed. Evenings,
8:00pm - 10:00pm, 8 weeks
Jazz Giants: Continuing Series: Glebe High School, Tues. Evenings,
8:00pm - 10:00pm , 8 weeks,
Fee: $125.00
Registration Begins: . Ottawa Carleton District School Board 239-2751
Instructor/Info: Garrett Leaver 237-4349 E-MAIL: garrett@magma.ca
While there is a plethora of musical sites on the web, some are especially good in their content for both players and listeners:
Jim Roy's One Stop Blues, Jazz & Swing is a local Ottawa site detailing upcoming performances, concerts. It is updated regularly and accurate.
Billy Taylor, jazz pianist gives insightful lectures and playing demos on jazz history.
Jazz Primer is an online, 100+ page book on playing jazz, very worth exploring.
Jazz Guitar online has good lessons/tips, sound & film clips, guitarists should start here.
Swing is in the Air, is a weekly radio show by Jacques Emond, ( also the program director for the Ottawa International Jazz Festival-he is the one who brings in such great artists year after year). The site includes a playlist of of each upcoming show.
Ottawa International Jazz Festival, a good place to visit not only at festival time but through out the year, especially for the concerts they put on in the fall and winter.
Links to Classical Sites:
Normand Fisher runs a very accurate and comprehensive listing of local Ottawa concerts, weekly, monthy and yearly. He often announces concerts that are lowered priced and even free.
Ottawa Chamber Music Festival runs for sevral weeks in July and August. It is quite affordable and filled with high caliber artists. They are also running a fall / winter series this year.
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Thanks for visiting.