Welcome to our 76th Toronto Ravel Study!
WE WILL CONTINUE to meet online (ZOOM) into 2021. The study has been discontinued for now – we will continue to have “Adventures in Listening” and a monthly guest.
This Month’s Guest
We are pleased to feature Bruce Cassidy as this month’s special guest.
Bruce Cassidy was born in Fredericton, New Brunswick, and was self-taught during his early years, He later studied trumpet and composition at Berklee College of Music in Boston. After graduating from Dalhousie University with a BSc in experimental psychology he moved to Toronto in 1968.
There he joined Lighthouse and toured and recorded with them for two years. In 1972 he joined Rob McConnell’s Boss Brass and appeared on their first seven albums. During that time he was also a member of Dr. Music and taught at Humber College. He joined Blood Sweat and Tears (BS&T) as their musical director in 1978 and toured and recorded with them for two years before moving to Los Angeles.
In late 1980 he accepted a film writing post in South Africa where he worked as a film and media composer for 23 years. In 2005 he connected again with David Clayton-Thomas who had also just returned to Toronto and worked as his musical director for another five years. Until 2020 he taught improvisation, trumpet, and supervised students’ final recording projects at Humber College. He is presently a PhD candidate in music composition at York University.
Bruce presently leads three groups here in Toronto, and is one of the world’s leading performers on the Electronic Valve Instrument (EVI). His interest and experience ranges from pop to orchestral, from classic jazz to the avant-garde.
For more on Bruce Cassidy, visit https://brucecassidymusic.com/about-bruce/
IF YOU WOULD LIKE TO BE A GUEST STUDY LEADER, please contact John firstname.lastname@example.org.
LISTEN TO PAST STUDIES @ https://soundcloud.com/toronto-ravel-podcast
NEW ADVENTURES IN LISTENING – Film clips from “On The Waterfront” and “Ryan” are posted on the “Study Materials” page for download. With the sound removed, they can be scored as an exercise, and brough in to “Adventures in Listening” for feedback and analysis. Adventures in Listening is a unique opportunity to get unbiased and honest feedback on your ‘in-progress’ or experimental work from a community of your professional peers. Because it is anonymous, it is a risk-free environment. Whether you are an emerging composer or an experienced one, and whether your work is for concert or screen, I encourage you to take advantage of this invaluable resource.