The Mississauga Big Band Jazz Ensemble has been around for over 35 years now. We perform a wide variety of big band jazz throughout Mississauga & the GTA and we’re looking for a place to start a once a month jazz program. Same day and week each month so people get know about it. A day when you’re not too busy would be ideal I think to help bring in more business for you. Tuesday night or Sunday afternoon are possible choices. A lot of our audience is seniors and we have a mailing list of about 350. We’d probably do 2 / 50 minute sets and our only requirement is an area of approximately 20’ X 12’ to set up. I know losing tables is an issue but if they would otherwise be empty, it’s something to think about. We also do music suitable for swing dancing, but that might take up additional room. The band usually gets an honorarium to cover some of our expenses, but I’d be open to any suggestions you might have ( cover charge / % of the bar ). We really are in this for the music and it would be nice to see some jazz in Mississauga. We could try it for a few months & see how things go. If you want to check out the band, there’s tons of info on our web site ( www.mbbje.com ). Feel free to contact me if you have any questions.                             

                                                                    Thanks!   Rob Boniface ( This email address is being protected from spambots. You need JavaScript enabled to view it. )

RTdgE9X8c2While it is true that many big bands don’t have a separate conductor, the MMBJE wouldn’t be where it is today without ours.

For starters, we aren’t just a typical big band playing dance charts. We DO play dances, and quite enjoy that musical outing. [We interrupt our programming for a commercial: we are available for weddings, fundraisers and parties – contact Rob Boniface. Now back to our regularly scheduled blog]. The MBBJE has always been about jazz-oriented big band music – hence the name -, and for that we heavily rely on the leadership of our current musical director Bruce Cassidy.

If you know anything about Canadian jazz, you are very familiar with Bruce’s reputation as a trumpet player, arranger, EVI master, bandleader and teacher. Those of us in the MBBJE have the good fortune of having Bruce guide us to even greater musical heights. As a trumpet player, I am additionally grateful to have someone of Bruce’s talent and experience to provide feedback and mentoring.

Over the past year, we’ve tackled some very difficult charts, including Groovin’ Hard by Don Menza, First Circle by Pat Metheny and some intriguing original compositions by members Gary Martin, Jay Boehmer and Rob Boniface. We could not have performed these pieces nearly as well without Bruce.

I doubt that most members of the audience are aware of what he brings to the band. During rehearsals, Bruce provides clear directions regarding interpretation of the music as well as the occasional tweak to an arrangement. During performances, he is more often found off to the side, but watch closely: he is in total control of the band. A slight movement of his hand or a nod of his head is all that’s needed to nudge the band back on track.

Over the years, we have been blessed by a series of wise and patient directors including Canadian jazz Don Johnston and Ron Collier. We are now benefiting from the experience and musical generosity of Bruce Cassidy, and for that, we are all truly grateful.





Petrucciani was born in France in 1962.  His Wikipedia entry draws parallels with Bill Evans, Keith Jarret and Oscar Peterson.  Although he regularly performed in a trio as well as with other performers, he preferred to play solo.

A relentless performer, he was performing more than 200 times per year at his busiest. Even in the year before his death, he gave 140 concerts.

Many years ago, I owned a cassette of his 1983 solo album “100 Hearts”.  The music is astonishing.  One reviewer commented on Petrucciani’s “emotional complexity”, and I whole-heartedly agree.  Two highlights from that album stick with me to this day.

The first is a wide-ranging, 14-minute improvisation that manages to weave “Someday My Prince will Come”, “All the Things You Are”, “A Child is Born” and Bill Evans’ “Very Early”.  The second is an incredibly rich and challenging version of “St. Thomas”, a portion of which sounded like it was being played in two keys simultaneously.

Of Petrucciani, another reviewer wrote “the rapidity with which the fingers of his right hand hits the piano keys defies all understanding of that part of the human anatomy.” What makes that comment even more astounding is that he was known to break fingers during his performances.

Yes, he was only three feet tall, and yes, he was in near constant pain from his osteogenesis imperfecta (aka “brittle bone disease”). Moreover, not many genre-defining musicians are regularly carried onto the stage.  But Michel Petrucciani is so much more than these physical limitations. Search up a clip, sit back and let his music envelop you.


The First Circle                                                                           

The MBBJE worked on Pat Metheny’s “The First Circle” this past year. (Big band arrangement by Bob Curnow.) It’s a complex piece of music in 22/8 with a manic hand clapping pattern throughout the introduction. I’ve been a big fan of the PMG since 1987 so I pulled out an old drumming exercise written by Paul Wertico who was the drummer in the band at the time.

This music brought to mind many questions about the original version of “The First Circle” that Paul had performed with Pat. Perhaps Paul would answer a few questions through his website. To my surprise, Paul replied with his phone number and suggested I call him directly with my questions. Here are some notes from our conversation.

1. The drumming exercise I was practicing had a significant notation error by the publisher. (Thanks for the correction Paul!)

2. The “count in” for First Circle is 4 quarter notes.

3. The First Circle was performed on every tour that the PMG did from 1984 to 1998.

4. Background parts (and clapping) were played during each concert by the Synclavier computer which broke down in Germany and cost $2,000 to repair.

5. The tempo of “The First Circle” could be changed and was usually increased for the end of the tune. More info at: www.paulwertico.com


In fact, I was oblivious to their existence until a friend forwarded me their video for "Lonely Boy" (thanks Wayne!). If you see only one YouTube video this year, make it this one. In an impressive display of teamwork, Leonhard Paul controls the slides of two trombones AND the valves of two trumpets simultaneously, while four of his teammates provide the air support. As if that isn't enough, his chair is removed leaving him supported in midair by the other four players, all the while maintaining both a melody and contrasting bass line. It's a great introduction to Austria's Mnozil Brass.

Founded in 1992, their normal configuration is three trumpets, three trombones and a tuba. In addition, you will see specialty instruments from famed European brass maker Schagerl, including the custom designed "Gansch horn" trumpet featuring rotary valves mounted vertically and a unique upturned bell (sorry, geeking out a bit there). 

Besides being incredible instrumentalists, they sing Bohemian Rhapsody in seven-part harmony, whistle (in seven part harmony) and play recorders with their noses (in seven part harmony, of course). Add in the occasional animal sound, percussion toys and carefully choreographed dance routines and you start to get the picture It's as if the  horn line from the world's greatest drum corps were also Cirque du Soleil clowns.

Here are some more examples of their style:  During their James Bond medley each successive soloist "kills" the previous one, leaving him temporarily immobile on the stage; their extra-fast version of William Tell is blended with Austrian drinking songs complete with actions; and their rock medley opens with the three trumpet players singing the Bee Gees's vocal lines to Stayin' Alive and closes with the classic zombie dance from Thriller.

The leader of this motley crew is Thomas Gansch, one of Europe's leading trumpet players. He plays with symphonies, big bands and small jazz combos. Plus he's a powerful high note player AND an amazing bebop soloist. Gansch alone is worth the price of admission. But my favourite member is actually one of the trombone players, Leonard Paul.

With facial expressions ranging from the doleful to the maniacal, Paul combines an love of clowning with some very serious musicianship on both the slide trombone and bass trumpet. There are amazing videos with just Gansch and Paul, demonstrating incredible teamwork and musicianship. Their incredibly wide-ranging fantasia on "Hey Jude" is at times touching and funny, blending sweet melodies, blistering bop lines, soulful gospel choruses, trumpet pedal notes and awkward dance moves. To find some of them you'll need to search the name "Leonhard Paul", as for some reason they don't always come up with the regular slew of Mnozil Brass videos.

Speaking of videos, there are a number of them on YouTube, including a full 90 minute concert. Unfortunately they rarely tour this sound of the Atlantic, but visit their FaceBook page and sign their guestbook.

If you play a brass instrument, you will love this band. If you are not a musician, you will still come away impressed and happy. The closest I can get to the German pronunciation is "note-ZEELL brauss". But however you say it, they are amazing.