Bill Gilliam composer / keyboardist
*** Upcoming concert*** "Deceptive Moves" - Music Gallery, Fri, Sept 30th 2005Bill Gilliam composer / keyboardist
- Doug Gallant, Guardian, Charlottetown (April,2002)
- David Franklin, Cadence Magazine (March 2002)
- Mark Vaugh-Jackson, Evening Telegram, St. John (Jan 2002)
- Brant Zwicker, Kamloops This Week (Dec 2001)
- Ray J Arsenault, Journal Pioneer, Summerside(Nov 2001)
- Sharpe on Jazz (Nov 2001)
- Geoff Chapman (June 2001)
"Spirit Matter" -
Where to Buy It
"Spirit Matter" - Top of the Charts (May 2001)
Check
out my stuff on MP3.com
(contains some tracks
from CD "Spirit Matter")
Bill Gilliam and Colleen Ostoforoff
present
"Deceptive Moves" a
New Music Concert Concert
at
the Music Gallery
Toronto, ON - On September 30th, 2005 at 8 p.m.
,
The Music Gallery, as part of the "Composer Now Face to Face" series, presents "Deceptive Moves", the compositions of Bill Gilliam and Colleen Ostoforoff. This concert will be an evening of World premieres of new music showing how each composer approaches, explores and embraces the theme of "deception".
Bill & Colleen decided to collaborate on this music project based on their common artistic vision, approach and style of composition. The topical theme of deception allows each artist a broad scope of interpretation while at the same time provides an opportunity to compliment each other's work and explore collective comment on current events.
For this concert, Bill's compositions are motivated by observations of deceptive behaviour in nature, children's emotions and adult machinations using extended techniques for voice and instruments. In the same vein, Colleen's compositions will focus on the themes of political system's deception, manipulation and environmental concerns. Her chamber music scores will explore the limits of the ensemble's sonic pallet through the use of concealed sound re-enforcement and signal processing.
Bill's style of music ranges from scores for new music ensembles to pieces for contemporary jazz performance to improvised soundscapes using handcrafted electronic samples. The music for this project will be contemporary new music compositions interwoven with sampled / processed sound. Bill's premiere works are:
Often inspired by the challenges of a unique sound source, Colleen
set out to re-create the sound or create a useful musical notation for
an unconventional instrument (for example a push lawn mower, a toy laughing
stick, sheet metal or a water phone). Her world premieres will be:
"Spirit Matter"
Doug
Gallant, Guardian, Charlottetown, PEI April 2002
British-born jazz pianist Bill Gilliam takes a rather dark and moody
turn on Spirit Matter, his follow-up release to Urban Undercurrents. Gilliam,
who has called Toronto home for some time now, is a highly creative and
inventive composer, as he has so aptly demonstrated in the past through
this work for stage and screen.
On Spirit Matter he explores a number of different themes, from the many colours of love and the ever-changing face of the world in which he lives to the importance of a sense of place, in some bold and imaginative ways. As stated previously, it's often dark and moody, but there are moments of joy and excitement as well.
Gilliam, an intense and passionate player who plays with equal measures
of flash and finesse here, is supported on Spirit Matter by some of Canada's
top jazz players, most notably trumpet player Kevin Turcotte, drummer Ben
Riley and sax player Ernie Tollar. Choice cuts on this nine-song set include
Rattle My Cage, Headlong, The Richness of Living and Nina's Love.
David
Franklin, Cadence Magazine March 2002
Spirit Matter's strengths lie in the well-crafted very contemporary
compositions of the leader and in the excellent work of the Toronto rhythm
section and front-line soloists. British-born Toronto resident wrote and
arranged all the tunes, and his experience in composing for non-jazz idioms
provided him with ideas not always found in straight-ahead Jazz settings.
The attractive compositions, the spirited bass and drums, and the imaginative,
swinging front line make this one worth a listen.
Brant
Zwicker, Kamloops This Week, Kamloops, BC. “Spirit Matter” CD review Dec,
2001
“Spirit Matter is Gilliam's second independent CD in only a couple
of years, a powerful and fluid collection of contemporary material which
fuses progressive technique and traditional textures in a manner few would
even attempt, much less find success with. Supported by some of the finest
musical talent in Toronto, Gilliam has created more than 70 minutes of
first-rate modern jazz which should break him through to the genre's very
front lines.”
Mark
Vaugh-Jackson, Evening Telegram, St. John, NF. “Spirit Matter” CD review
Jan, 2002
“This Ontario jazz pianist has turned out a compelling little number
that, in my opinion, neatly bridges the gap between the way-out edgy fusionesque
jazz that I'm not too fond of and the smoother sound of the jazz that I
like. This is one of those CDs that you could stick on low in the background
to set a mood or turn up a bit and focus your attention on, either way,
it's good stuff.”
Ray
J Arsenault, Journal Pioneer, Summerside, PEI. “Spirit Matter” CD review
Nov, 2001
“Toronto’s Bill Gilliam shows slight traces of his British roots, his
current Canadian environs and his traditional American leanings in his
brand new independent jazz CD, Spirit Matter. This talented keyboardist/composer
has somehow melded all these influences into a strong, fresh and ultra-modern
package that will surely perk the ear of many a jazz affcionado. He’s assembled
a heavy-hitting line-up of musicians to back him up and to perform some
amazing lead work. I would recommend this one to those who really know
their jazz.”
Sharpe On Jazz, John Sharpe, Scene Magazine, November 2001
Bill Gilliam
Spirit Matter (Melos/Festival)
Pianist/composer Bill Gilliam was born in London, England but is now
based in Toronto. In addition to leading the Bill Gilliam Ensemble, this
multi-faceted artist has also written music for theatre productions, films
and dancers. Spirit Matter, a follow-up to his first contemporary jazz
release Urban Undercurrents, features eight inventive originals performed
by some of Toronto’s finest jazz musicians. While Gilliam’s piano often
deals in dark tonal colours, saxophonist Erinie Tollar and well-known trumpeter
Kevin Turcotte add bright light to the leaders compositions. Indeed, Spirit
Matter is full of shifting rhythms (courtesy of bassist Duncan Hopkins,
drummer Ben Riley and percussionist Mark Duggan), solid group interplay
and thoughtful improvisation. This is one Canadian jazz recording that
definitely deserves wider recognition. Very impressive. ####
Geoff
Chapman Review, The Toronto Star, June 2001
British Born, Toronto-based pianist Bill Gilliam always offers contemporary
sounds that have served him well composing for other art forms, including,
dance, theatre and new music projects. Here it is jazz with a pronounced
21st-century spin; big on on tonal colours and contrast, fluid pattern-weaving,
considerable finesse and ballad themes handled with a lover's care. Among
the nine Gilliam numbers the pianoman and able associates Ernie Tollar
(saxes), Kevin Turcotte (trumpet), Duncan Hopkins (bass) and Ben Riley
(drums) generate, there's plenty of punch and sophisticated deliberation.
"Rattle My Cage" and "Headlong" are highlights.
"Spirit Matter" can be purchased at Sams Record
Store, Yonge and Dundas, Toronto, or ordered online by credit card, phone
or mail for worldwide delivery at: Indiepool.
and Festival Distribution.
Just click on the links, order the CD and enjoy!
If you have any questions about this music , please contact
me directly at: bgilliam@sympatico.ca
"Spirit Matter" - top of the CIUT WEEKLY MUSIC JAZZ CHART!
As submitted weekly to;
CMJ, New York City www.cmj.com
CHART Magazine, Toronto www.chartattack.com
Over 650 Labels, Musicians and Listeners Worldwide
CIUT Radio Toronto
89.5 FM 15,000 Watts
Star Choice Satellite CH852
Internet Broadcast at www.ciut.fm
CIUT WEEKLY MUSIC CHART - JAZZ
May 7, 2001
ARTIST__TITLE__LABEL
1 Bill Gilliam__Spirit Matter__Independent
2 Metalwood__The Recline__Verve
3 Mark Zubek__Horse With A Broken Leg__Fresh Sound
4 Glen Hall__The Roswell Incident__Leo
5 Oscar Peterson__Trio On The Town__Verve
6 Jazz Pharmacy__Amnesia__Sinistresound
7 Trigger__All These Things__Pogus
8 Domenic Duval__Asylem__Leo
9 Remi Bolduc__Renaissance__Effendi
10 Heillig Manoeuvre__Self Titled__Independent
Urban Undercurrents - CD & Concert Reviews
“Bill Gilliam has crafted a strong collection
of songs and has an expressive way with funky pieces. He’s obviously comfortable
with the other musicians and they respond with good work”
Richard B Kamins, Cadence magazine (Redwood,
NY), CD review (Dec 2000)
"This Canadian attacks the piano with the
power and rhythmic sensitivity of McCoy Tyner but uses the punch to create
a style that leaps far beyond influences"
David McElfresh, Jazz Now, (March 2000) CD
Review.
"Gilliam's music featured curious grooves,
unusual contours, jolting time shifts and a frequent sense of intense four-way
dialogue between performers seeking different paths to the same redemptive
destination."
Geoff Chapman Review, Toronto
Star, December 13, 1999
"a very hip collection of original compositions
that are constantly engaging"
Joseph Sobara, Varsity (Spring 99) CD Review
"Gilliam bridges together contemporary classical
composition technique with traditional jazz idioms with considerable amount
of success ... the CD features rising trumpet sensation Lina Allemano who
tears up the sound waves with passionate performances"
Maria Knight, The Strand (Sept 8th 1999) CD
review
"Where have you been Bill Gilliam? ... a
sophisticated mix of future jazz and new music that illustrates truly imaginative
writing and execution", ...."to be noted by anyone keen on imagistic music
that packs a punch".
Geoff Chapman, Toronto Star "Jazz Notes" (March
4th, 1999)
“subtle and tuneful playing that ventures
into interesting musical terrain while never losing touch with the core
melody of each number, very pleasing stuff”
Kerry Doole, “On The Beat” column in Tandem
magazine (July 11th 1999), review of Bill Gilliam Ensemble June 24th 1999
performance at the Montreal Bistro in Toronto.
“bold melodies and rhythms ..... featuring
fluid improvisations by saxist Ernie Tollar”.
Dominique Denis, Toronto French newspaper
L’Express (June 22nd, 1999) CD review.
"with Gilliam's attack strategy to the music
form he should gain a solid foothold in the jazz market".
Walter Grealis, RPM magazine (March 8th, 1999)
"I enjoyed it (the CD launch event) a lot.
Your music has something that Jarrett's and Brubeck's has that a lot of
jazz groups' don't. For lack of a better term, I'll call it "spirit". The
CD is a keeper (and a bargain at the price)."
Jazz Fan (Spring 1999)
“one of the finest performances to
ever take place in the (AGO) Walker Court”.
Jim Shedden, the musical director of the “All
That’s Jazz” concert series at the Art Gallery of Ontario, review of the
Bill Gilliam Ensemble recital (April 1st 1998)
The style of the original compositions on this CD combines elements
of instrumental modern jazz, such as angular melodies over modal harmonies
and driving bass lines, with some influences of new music. This gives the
performers rich musical textures to use as a springboard for improvisation
within the song forms or over hypnotic grooves. My goal is to invite the
listener to explore a fresh and unpredictable landscape of music that is
intensely melodic, harmonically rich, rhythmically exciting and performed
with passion.
Urban
Undercurrents - Audio samples
| Alecia | Alecia (MP3 2:00 mins) |
| Paradiso Perdido | Paradiso Perdido (MP3 2:00 mins) |
"Urban Undercurrents" can be ordered online by credit card, phone or mail for worldwide delivery at: Indiepool
It can also be ordered in the US through: NorthCountry Distributors
The CD is also available at the these retail stores in
the Toronto area (as of May 2001).
| STORE | LOCATION |
| Chapters Bookstore | Richmond & John St, Toronto |
| Happy House | 589 Markham St, Toronto,
Tel (416) 588 0002 |
| Edwards Record World | 2359 Yonge St / Eglington, Toronto
(416) 489-1144 |
Recordings
“Urban Undercurrents” (1998) - a CD album of original
Bill Gillam jazz compositions featuring Ernie Tollar on sax, Dave Young
on bass, Howard Gaul on drums, and Bill Gilliam on piano. Produced by Ron
Allen and funded by FACTOR.
“Cyclic Dancing” (1990) - a cassette album of electronic music
was produced with assistance by the Canada Council and distributed by the
Canadian Music Centre (CMC) in Toronto.
Bill Gilliam Solos & Duets (March 22, 2003)
A concert of new music compositions by Bill Gilliam at
the Music Gallery in Toronto
Send Between (Sample keyboard solo, 2001)
A composition of samples I created from bass flute sounds played by
Diane Aitken. In this piece I imagined some fragments of prehistoric music
being discovered mixed in with modern airwaves and deciphered as a message
whose meaning is familiar but never understood.
Energeia (Piano & Marimba, 1996)
This piece was originally written for two marimbas. The title is from
the Greek meaning internal or inherent power, qualities our earth has in
abundance.
Residues (Flute & Tape, 2002*)
This piece describes a landscape of fragments slowly falling and disintegrating
into essential elements that reform and regenerate.
Aspire To? (Piano solo, 2002*)
After I finished this three-movement piece, I imagined it as a loose
chronology of different styles of music in the twentieth century. Part
I reflects the idea of lyricism from the beginning of the period. Part
II has echoes of Eastern European classical music from between the world
wars. Part III combines short motifs, repetitive patterns and neurotic
shifts in mood often found in music in the last fifty years.
Pleiades (Sample keyboard solo, 1999)
A composition using sample sounds of piano and other percussion instruments
inspired by a cluster of stars named after the seven daughters of Atlas.
The ancients used these stars as an eye test for their warriors. If they
could see 6 to 8 stars, they had good eyesight.
Ulysses on the Love Canal (Sample keyboard solo, 1999)
A little known sequel to the Greek hero’s mythic voyage where he runs
afoul at Love Canal, Niagara Falls, NY, which became famous in 1977 as
the site of a toxic dump environmental disaster.
Entre Les Guerres (Flute & Percussion, 2003*)
Any respite between conflicts is fragile and worth savouring. My parent’s
generation told me some of their most pasionate moments were snatched between
bomb raids in London. This duet starts with long solo statements by each
each instrument, which get successively shorter to the point where they
join in syncopated rhythms to a forceful conclusion.
* Premiere performance
***all compositions by Bill Gilliam
**********************
Ebb & Flow (1997) sax, piano, percussion
Energeia (1998) marimba duet
Home (1998) sax, piano, marimba, percussion
The River Styx (1996) flute, synth, MIDI percussion, percussion
Cataluyna.MP3 (5meg) (1998) sax, piano, marimba**********************
Burning Ambitions (1994)
An evening of original New Music compositions performed at the
Music Gallery in Toronto, included the following compositions:
Burning Ambitions (1994)Flight out of Time (1988)
A piece for solo violin, percussion and tape. The title expresses both our personal desires to bring our dreams to fruition, contrasted with the realities of destroying our cultures to obtain our goals. (15.00 mins)No Zone Flying (1994)
A duet for cello and piano. This piece is a reaction to the realization that after a nation has decided to wage a civil war, the flight of imagination is brought to a brutal halt. (15:00 mins)Piano Variations (1993)
A theme and variations for solo piano that expresses my interest in atonal harmony with jazz rhythms and melodic lines. (8.00 mins)Les Célébrations D'Été (1993)
A piece for 2 pianos and string quartet to celebrate the summer equinox. The idea of the sound of two pianos and a string quartet created an image of a shimmering summer evening. (8:00 mins)Zed[4] (1989)
A quartet for bass clarinet, cello, percussion and sampler. This piece was originally written for ARRAY MUSIC and was performed as part of their "electric" concerts. "Zed" is an array of four characters accumulating to a point of unison in a hurry. (5.00 mins)**********************
**********************
Bio
Bill is from London, England and moved to Toronto after completing
his studies at Berklee College of Music in Boston in 1981. Since
moving to Canada he has studied classical composition and written scores
for contemporary music ensembles, film, dance and theatre including collaborations
with film makers Bruce Elder, Bruce McDonald and choreographers Philip
Drube, Maxine Heppner and arie-Josée Chartier. In 1988 he
received a grant from the Ontario Arts Council to participate in the Inter
Arts program at the Banff Centre of Fine Arts to develop a multi-media
work using interactive music technology. His compositions have been
performed by ARRAY MUSIC
and other Toronto new music performers such as pianists Eve Egoyan and
John Farah, violinist Adele Armin, flautist Ken Hall and percussionists
Richard Sacks, Mark Duggan, Bill Brennan and Graham Hargrove. In 1990 he
received a grant from the Canada Council to produce a solo cassette album
'Cyclic Dancing" of electronic music. In 1998 he
received funding from the Foundation to Assist Canadian Talent on Records
(FACTOR) to produce a contemporary jazz CD "Urban Undercurrents" which
was released in March 1999 at the Montreal Bistro jazz club in Toronto.
In 2000 he was awarded an Ontario Arts Council grant to record his second
contemporary jazz CD "Spirit Matter". Using palettes of hand crafted
sample sounds and keyboards, Bill has improvised with performance artists
such as clarinettists Lori Freedman, Ronda Rindone, sound poet Penn
Kemp, actor Anne Anglin, percussionist Richard Sacks and performed
solo at the 2001 Ought One Music Festival in Montpelier, Vermont. Bill
performed with his jazz ensemble at the 2003 Distillery Jazz Festival and
with "Soundspoke" in the 2004 Distillery Jazz Festival spoken word series.
Recently he is composing new music for an upcoming concert at the Music
Gallery in October 2005 and performing improvised music with various
artists at venues in Ontario.
Gilliam band takes Pilot crowd on winding trip
By Geoff Chapman
Toronto Star Jazz Critic
Pianist Bill Gilliam may have earned his spurs creating music for
movies, dance and theatre, but, remember, he emerged from
Boston's prestigious Berklee College with a degree in jazz
composition as well as film scoring.
It's the different strokes of his jazz compositions as well as their
execution that makes him worth seeking out: he does not
plough a straight musical furrow.
The quartet he brought to The Pilot Saturday reflected the
unusual ideas he brings to the art form, with Ernie Tollar,
veteran of the genre's internecine wars, on soprano sax;
excellent mainstream bassist Duncan Hopkins; and Ben Riley
(son of monster organist Doug), an excitingly responsive
presence on drums.
It takes confidence to face the grizzled Pilot jazz inquisitors with
a program consisting entirely of your own material - much to be
found on his debut indie CD release Urban Undercurrents - and
there were also new tunes.
Gilliam's music featured curious grooves, unusual contours,
jolting time shifts and a frequent sense of intense four-way
dialogue between performers seeking different paths to the
same redemptive destination.
Thus, piano, sax and bass would ease into looping lines
speedily picked up by colleagues to take elsewhere, with
persistent unscripted commentary from the chattering Riley
drumkit.
All this makes for fascinating listening, Tollar's long, smooth
snaky sax lines over a walking beat and then polyrhythmic
pulse on ``The Impasse,'' typical answers to the leader's
challenging, knotty themes as Gilliam kept the band balanced
on an unpredictable edge, particularly with his dark-toned,
threatening comping.
The yearning ``Nina's Love'' was just one creation that climaxed
in ensemble excitement after florid, emotional work from Gilliam,
with players taking turns to peer ``outside'' before returning to
the broiling group stew and often with pairs of them trolling to
different pulses than their comrades.
Exploratory expeditions continued through three sets, Tollar
switching to alto to cruise mournfully over skittering beat on
``The Richness Of Living,'' where Riley's hip accents stood out.
There were more measured structures, like the bluesy tribute to
Charles Mingus, but even here as on ``Pleasure'' Gilliam's elastic
ideas of focus and flow dominate, with particularly ecstatic
dialogues between piano and sax.
Time was also found to experiment with funk and dirge, which
showed group versatility and desire for earthy experimentation,
while fragmented material kept bursting into animated
interaction. Clearly a band to watch.
