Janet-Laine Green is a Canadian actress, director and teacher, active for over 25 years. Best known for her roles in She's the Mayor, Seeing Things and This is Wonderland, this Toronto-based film and television personality has been a voice actor for animated series such as Jacob Two-Two, Little Bear and The Care Bears, she provided the voice of the arch villain Xayide in the animated version of The Neverending Story and Void in WildC. A. T. S.. She has worked as an associate producer on the film The Circle Game in which she played as Anna. Green has been nominated for three Gemini Awards and two Genie Awards, she is active on the Canadian stage. In fact, Theatre Saskatchewan has given the province's best stage actors, since 1992, a Lifetime Achievement Award named after her. Green is the mother of Redwall actor Tyrone Savage, her husband, Booth Savage, wrote the play version of Pillow Talk, which Green is now starring in and producing. She has a production company of her own, Briefcase Productions.
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- Additional Voices Ultraforce - Lament WildC. A. T. S. - Void Transformers: Beast Wars Transmetals - Blackarachnia/Predacon Computer Janet-Laine Green on IMDb Janet-Laine Green at Northern Stars Janet-Laine Green on Twitter
Embouchure or lipping is the use of the lips, facial muscles and teeth in playing a wind instrument. This includes shaping the lips to the mouthpiece of a woodwind instrument or the mouthpiece of a brass instrument; the word is of French origin and is related to the root bouche,'mouth'. Proper embouchure allows instrumentalists to play their instrument at its full range with a full, clear tone and without strain or damage to their muscles. While performing on a brass instrument, the sound is produced by the player buzzing his or her lips into a mouthpiece. Pitches are changed in part through altering the amount of muscular contraction in the lip formation; the performer's use of the air, tightening of cheek and jaw muscles, as well as tongue manipulation can affect how the embouchure works. Today, many brass pedagogues take a rigid approach to teaching how a brass player's embouchure should function. Many of these authors disagree with each other regarding which technique is correct. Research suggests efficient brass embouchures depend on the player using the method that suits that player's particular anatomy.
Individual differences in dental structure, lip shape and size, jaw shape and the degree of jaw malocclusion, other anatomical factors will affect whether a particular embouchure technique will be effective or not. In 1962, Philip Farkas hypothesized that the air stream traveling through the lip aperture should be directed straight down the shank of the mouthpiece, he believed that it would be illogical to "violently deflect" the air stream downward at the point of where the air moves past the lips. In this text, Farkas recommends that the lower jaw be protruded so that the upper and lower teeth are aligned. In 1970, Farkas published a second text. Out of 40 subjects, Farkas showed that 39 subjects directed the air downward to varying degrees and one subject directed the air in an upward direction at various degrees; the lower jaw position seen in these photographs show more variation from his earlier text as well. This supports what was written by trombonist and brass pedagogue Donald S. Reinhardt in 1942.
In 1972, Reinhardt described and labeled different embouchure patterns according to such characteristics as mouthpiece placement and the general direction of the air stream as it travels past the lips. According to this text, players who place the mouthpiece higher on the lips, so that more upper lip is inside the mouthpiece, will direct the air downwards to varying degrees while playing. Performers who place the mouthpiece lower, so that more lower lip is inside the mouthpiece, will direct the air to varying degrees in an upward manner. In order for the performer to be successful, the air stream direction and mouthpiece placement need to be personalized based on individual anatomical differences. Lloyd Leno confirmed the existence of both downstream embouchures. More controversial was Reinhardt's description and recommendations regarding a phenomenon he termed a "pivot". According to Reinhardt, a successful brass embouchure depends on a motion wherein the performer moves both the mouthpiece and lips as a single unit along the teeth in an upward and downward direction.
As the performer ascends in pitch, he or she will either move the lips and mouthpiece together up towards the nose or pull them down together towards the chin, use the opposite motion to descend in pitch. Whether the player uses one general pivot direction or the other, the degree to which the motion is performed, depends on the performer's anatomical features and stage of development; the placement of the mouthpiece upon the lips doesn't change, but rather the relationship of the rim and lips to the teeth. While the angle of the instrument may change as this motion follows the shape of the teeth and placement of the jaw, contrary to what many brass performers and teachers believe, the angle of the instrument does not constitute the motion Reinhardt advised as a pivot. Research supports Reinhardt's claim that this motion exists and might be advisable for brass performers to adopt. John Froelich describes how mouthpiece pressure towards the lips and shear pressure functioned in three test groups, student trombonists, professional trombonists, professional symphonic trombonists.
Froelich noted that the symphonic trombonists used the least amount of both direct and shear forces and recommends this model be followed. Other research notes that all brass performers rely upon the upward and downward embouchure motion. Other authors and pedagogues remain skeptical about the necessity of this motion, but scientific evidence supporting this view has not been sufficiently developed at this time; some noted brass pedagogues prefer to instruct the use of the embouchure from a less analytical point of view. Arnold Jacobs, a tubist and well-regarded brass teacher, believed that it was best for the student to focus on his or her use of the air and musical expression to allow the embouchure to develop on its own. Other instructors, such as Carmine Caruso, believed that the brass player's embouchure could best be developed through coordination exercises and drills that bring all the muscles into balance that focus the student's attention on his or her time perception. Still other authors who have differing approaches to embouchure development include Louis Maggio, Jeff Smiley, Jerome Callet. and Clint McLaughlin.
Most professional performers, as well as instructors, use. Farkas told people to blow. Raphael Mendez advised saying the letter "M"; the skin under the lower lip will be taut with no air pocket. The lips do they roll in or out; the cor
John Birks "Dizzy" Gillespie was an American jazz trumpeter, bandleader and singer. Gillespie was a trumpet virtuoso and improviser, building on the virtuoso style of Roy Eldridge but adding layers of harmonic and rhythmic complexity unheard in jazz, his combination of musicianship and wit made him a leading popularizer of the new music called bebop. His beret and horn-rimmed spectacles, his scat singing, his bent horn, pouched cheeks, his light-hearted personality provided some of bebop's most prominent symbols. In the 1940s Gillespie, with Charlie Parker, became a major figure in the development of bebop and modern jazz, he taught and influenced many other musicians, including trumpeters Miles Davis, Jon Faddis, Fats Navarro, Clifford Brown, Arturo Sandoval, Lee Morgan, Chuck Mangione, balladeer Johnny Hartman. Scott Yanow wrote, "Dizzy Gillespie's contributions to jazz were huge. One of the greatest jazz trumpeters of all time, Gillespie was such a complex player that his contemporaries ended up being similar to those of Miles Davis and Fats Navarro instead, it was not until Jon Faddis's emergence in the 1970s that Dizzy's style was recreated Arguably Gillespie is remembered, by both critics and fans alike, as one of the greatest jazz trumpeters of all time".
The youngest of nine children of James and Lottie Gillespie, Dizzy Gillespie was born in Cheraw, South Carolina. His father was a local bandleader, so instruments were made available to the children. Gillespie started to play the piano at the age of four. Gillespie's father died, he taught himself. From the night he heard his idol, Roy Eldridge, on the radio, he dreamed of becoming a jazz musician, he won a music scholarship to the Laurinburg Institute in North Carolina which he attended for two years before accompanying his family when they moved to Philadelphia. Gillespie's first professional job was with the Frank Fairfax Orchestra in 1935, after which he joined the respective orchestras of Edgar Hayes and Teddy Hill, replacing Frankie Newton as second trumpet in May 1937. Teddy Hill's band was where Gillespie made his first recording, "King Porter Stomp". In August 1937 while gigging with Hayes in Washington D. C. Gillespie met a young dancer named Lorraine Willis who worked a Baltimore–Philadelphia–New York City circuit which included the Apollo Theater.
Willis was not friendly but Gillespie was attracted anyway. The two married on May 9, 1940, they remained married until his death in 1993. Gillespie stayed with Teddy Hill's band for a year left and free-lanced with other bands. In 1939, he joined Cab Calloway's orchestra, with which he recorded one of his earliest compositions, "Pickin' the Cabbage", in 1940. After a notorious altercation between the two men, Calloway fired Gillespie in late 1941; the incident is recounted by Gillespie and Calloway's band members Milt Hinton and Jonah Jones in Jean Bach's 1997 film, The Spitball Story. Calloway his adventuresome approach to soloing. According to Jones, Calloway referred to it as "Chinese music". During rehearsal, someone in the band threw a spitball. In a foul mood, Calloway blamed Gillespie, who refused to take the blame. Gillespie stabbed Calloway in the leg with a knife. Calloway had minor cuts on the wrist. After the two men were separated, Calloway fired Gillespie. A few days Gillespie tried to apologize to Calloway, but he was dismissed.
During his time in Calloway's band, Gillespie started writing big band music for Woody Herman and Jimmy Dorsey. He freelanced with a few bands, most notably Ella Fitzgerald's orchestra, composed of members of the Chick Webb's band. Gillespie did not serve in World War II. At his Selective Service interview, he told the local board, "in this stage of my life here in the United States whose foot has been in my ass?" He was classified 4-F. In 1943, he joined the Earl Hines band. Composer Gunther Schuller said... In 1943 I heard the great Earl Hines band which had Bird in all those other great musicians, they were playing all the flatted fifth chords and all the modern harmonies and substitutions and Gillespie runs in the trumpet section work. Two years I read that that was'bop' and the beginning of modern jazz... but the band never made recordings. Gillespie said of the Hines band, "eople talk about the Hines band being'the incubator of bop' and the leading exponents of that music ended up in the Hines band.
But people have the erroneous impression that the music was new. It was not; the music evolved from. It was the same basic music; the difference was in how you got from here to here to here... each age has got its own shit."Gillespie joined the big band of Hines' long-time collaborator Billy Eckstine, it was as a member of Eckstine's band that he was reunited with Charlie Parker, a fellow member. In 1945, Gillespie left Eckstine's band. A "small combo" comprised no more than five musicians, playing the trumpet, piano and drums. Bebop was known as the first modern jazz style. However, it was not viewed as positively as swing music was. Bebop was seen as an outgrowth of swing, not a revolution. Swing introduced a diversity of new musicians in the bebop era like Charlie Parker, Thelonious Monk, Bud Powell, Kenny Clarke, Oscar Pettiford, Gillespie. Through these musicians, a new vocabulary of musical phrases was created. With Parker, Gillespie jammed at famous jazz clubs like Minton's Playhouse and Monroe's Uptown House.
Parker's system held methods of adding ch
Chesney Henry Baker Jr. was an American jazz trumpeter and vocalist. Baker earned much attention and critical praise through the 1950s for albums featuring his vocals. Jazz historian Dave Gelly described the promise of Baker's early career as "James Dean and Bix, rolled into one." His well-publicized drug habit drove his notoriety and fame. Baker was in and out of jail before enjoying a career resurgence in the late 1970s and'80s. Baker was raised in a musical household in Yale, Oklahoma, his father, Chesney Baker Sr. was a professional guitarist, his mother, Vera Moser, was a pianist who worked in a perfume factory. His maternal grandmother was Norwegian. Baker said that due to the Great Depression, his father, though talented, had to quit as a musician and take a regular job. Baker began his musical career singing in a church choir, his father gave him a trombone, replaced with a trumpet when the trombone proved too large. His mother said. After "falling in love" with the trumpet, he improved noticeably in two weeks.
Peers called Baker a natural musician. Baker received some musical education at Glendale Junior High School, but he left school at the age of 16 in 1946 to join the United States Army, he was assigned to Berlin, where he joined the 298th Army band. After leaving the Army in 1948, he studied music theory and harmony at El Camino College in Los Angeles, he dropped out during his second year to re-enlist. He became a member of the Sixth Army Band at the Presidio in San Francisco, spending time in clubs such as Bop City and the Black Hawk, he proceeded to pursue a career in music. Baker performed with Vido Musso and Stan Getz before being chosen by Charlie Parker for a series of West Coast engagements. In 1952, Baker joined the Gerry Mulligan Quartet. Rather than playing identical melody lines in unison like Parker and Dizzy Gillespie and Mulligan complemented each other with counterpoint and anticipating what the other would play next. "My Funny Valentine", with a solo by Baker, became a hit and would be associated with Baker for the rest of his career.
With the Quartet, Baker was a regular performer at Los Angeles jazz clubs such as The Haig and the Tiffany Club. Within a year, Mulligan was imprisoned on drug charges. Baker formed a quartet with a rotation that included pianist Russ Freeman, bassists Bob Whitlock, Carson Smith, Joe Mondragon, Jimmy Bond, drummers Larry Bunker, Bob Neel, Shelly Manne. Baker's quartet released popular albums between 1953 and 1956. Baker won reader's polls at Metronome and Down Beat magazine, beating trumpeters Miles Davis and Clifford Brown. In 1954, readers named Baker the top jazz vocalist. In 1956, Pacific Jazz Records released Chet Baker Sings, an album that increased his visibility and drew criticism. Baker sang throughout the rest of his career. Hollywood studios saw an opportunity in Baker's chiseled features, he made his acting debut in the film Hell's Horizon, released in the fall of 1955. He declined a studio contract. Over the next few years, Baker led his own combos, including a 1955 quintet with Francy Boland, where Baker combined playing trumpet and singing.
In 1956 he completed an eight-month tour of Europe. In late 1959 he returned to Europe, recording in Italy what would become known as the Milano Sessions with arranger and conductor Ezio Leoni and his orchestra. Baker was arrested for drug possession and jailed in Pisa, forcing Leoni to communicate through the prison warden to coordinate arrangements with Baker as they prepared for recording. During most of the 1960s, Baker played flugelhorn and recorded music that could be classified as West Coast jazz. Baker said he began using heroin in 1957. Author Jeroen de Valk and pianist Russ Freeman say. Freeman was Baker's musical director. Sometimes Baker pawned his instruments to buy drugs. During the 1960s, he was imprisoned in Italy on drug charges and was expelled from Germany and the UK on drug-related offences, he was deported to the U. S. from Germany for getting into trouble with the law a second time. He settled in Milpitas, performing in San Francisco and San Jose between jail terms for prescription fraud.
In 1966, Baker was beaten while attempting to buy drugs, after performing at The Trident restaurant in Sausalito. In the film Let's Get Lost, Baker said an acquaintance attempted to rob him but backed off, only to return the next night with a group of men who chased him, he became surrounded. Instead of rescuing him, the people inside the car pushed him back out onto the street, where the chase continued, he received cuts and some of his teeth were knocked out, ruining his embouchure and leaving him unable to play trumpet. He worked at a gas station until concluding. After developing a new embouchure resulting from dentures, Baker returned to the straight-ahead jazz that began his career, he moved to New York City and began performing and recording again, including with guitarist Jim Hall. In the 1970s, Baker returned to Europe, where he was assisted by his friend Diane Vavra, who took care of his personal needs and helped him during his recording and performance dates. From 1978 until his death in 1988, Baker lived and played exclusively in Europe, returning to the U.
S. once a year for a few performances. This was Baker's most prolific era as a rec
Katie Boland is a Canadian actress, writer and producer. She began her career as a child actress in film and television and has since branched out into adult roles, in addition to writing and producing her own projects. Boland was born and raised in Toronto, Canada, she began her career as a child actor and her first role was in the CBS mini-series The Third Twin, opposite Kelly McGillis and Jason Gedrick. In her youth, Boland became well known for her roles in the Canadian children's television shows Noddy and The Zack Files. Since subsequently starred in the drama miniseries Terminal City. In 2007, Boland starred as Christine in the Hallmark Channel original film The Note. In 2008, Boland starred in Atom Egoyan's Adoration. In 2009, she was chosen by Elle as one of three Canadians to watch; the following year, she played a supporting role in Michael Goldbach's Daydream Nation. In 2012, she was featured in the Paul Thomas Anderson film The Master. In 2013, Boland wrote and starred in the Hulu web series Long Story, Short, co-created with her mother Gail Harvey, who directed it.
The series was filmed in the house where she grew up and was based on her personal essays "The Summer I Lost My Mind." For her role in the series, Boland won a Canadian Screen Award in 2014. She won the Best Actress award at the inaugural Vancouver Web Series Festival, among other nominations, for her performance in Long Story, Short; that same year, she was chosen as one of Playback's annual "10 To Watch". From 2013 to 2015, Boland starred in the recurring role of Clarissa on the hit CW series Reign. In 2015, Boland played a supporting role in Born To Be Blue, alongside Ethan Hawke, which premiered at the Toronto International Film Festival, starred as part of an ensemble cast in the film People Hold On, nominated for a Canadian Screen Award. In 2017, she starred in the low-budget thriller film Cardinals opposite Sheila McCarthy, Grace Glowicki, Noah Reid; the film premiered in the Discovery section of the 2017 Toronto International Film Festival. In 2016, Boland was awarded a grant by bravoFACT to direct and star in a short film, which she wrote, titled Lolz-Ita.
The film is about the life of a naïve but internet savvy 22-year-old who becomes a celebrity on instagram. Gail Harvey and Lauren Collins co-produced the film alongside Boland. In 2017, it was announced that Lolz-Ita would screen at the TIFF Bell Lightbox as part of the Toronto International Film Festival's Share Her Journey campaign to "champion female storytellers"; the film was selected to screen at the 24th annual Austin Film Festival. In addition to acting and directing, Boland has written a novel and works as an occasional journalist for the various media publications, including the Toronto Star, BlogTO, SheDoesTheCity, TChad Quarterly. Boland's written work focuses on women's issues and relationships. Boland's mother is award-winning Canadian director Gail Harvey. Together, they own Straight Shooters, her father is a journalist and her brother, who goes by the stage name Boland, is a rapper. In 2010 was made the documentary Paper Promises about his grandfather Larry Harvey, a Country musician.
The documentary was directed by Shane Harvey, Katie Boland's uncle and produced by Shelley Gillen, Katie Boland's aunt-in-law. Official website Katie Boland on IMDb Katie Boland at Tribute.ca
Callum Keith Rennie
Callum Keith Rennie is a British-born Canadian television and film actor. He started his career in Canadian film and television projects, where his portrayal of Stanley Raymond Kowalski on the television series Due South was his first international success. After years acting in over 125 Canadian and international projects, he became known for his portrayal of the Cylon model number two Leoben Conoy on Battlestar Galactica, following that, his role as record producer Lew Ashby on the Showtime series Californication. Cast as a bad guy in movies, Rennie's regular participation in Canadian productions gives him an opportunity to show a broader range of his acting abilities, which have been recognized by several awards. Rennie was born in Sunderland and Wear, to Scottish parents; when he was four years old, the family emigrated to Canada. Rennie was brought up in Alberta, as the second of three boys, he graduated from Strathcona High School, where he met and befriended Bruce McCulloch from The Kids in the Hall.
He dropped out from college and took up all sorts of odd jobs instead, leaving Edmonton for brief stays in Vancouver and Toronto before settling in Vancouver. After a serious bout with alcoholism in his youth, Rennie managed to get his addiction under control at age 33 and was able to commit to acting, he likes painting and admires abstract expressionist artists such as Basquiat and Pollock. An enthusiastic mountain climber in his youth, Rennie still practices various sports, he is, above all, an avid golfer. He resides alternately in Los Angeles, he has no children. Working at the campus radio of University of Alberta led Rennie to discover acting at age 25, he started his career on stage, performing at the A. B. O. P. Theatre in Edmonton in Amerika, a play adapted from Franz Kafka's novel and followed with the critically acclaimed American Buffalo during the Edmonton International Fringe Festival. After attending Bruhanski Theatre Studio in Vancouver, he had his first professional theatrical performance in 1989 in Sally Clark's Lost Souls and Missing Persons, a Touchstone Theatre production.
This earned him an invitation to work at the Shaw Festival where he appeared in Man and Superman and in Pinero's Trelawny of the Wells. Rennie's first appearance on screen was in the indie Canadian film Purple Toast, filmed in 1990 and released in 1993. In 1993, he began to take small roles in television. Rennie's profile within the Canadian industry was heightened during this period by leading roles in the television films Paris or Somewhere and For Those Who Hunt the Wounded Down. Due to several disagreements during the production of the latter film, Rennie vowed never to work for the CBC again, though he has remained a staunch supporter of the Canadian industry as a whole. After his first appearance on The X-Files, he was offered the role of Alex Krycek but turned it down because he did not want to commit to a television series at that time, his career gained momentum and larger roles in Canadian films followed. He had more important roles on television series, as in a two-parter for La Femme Nikita.
His most prominent early roles were as guitar player Billy Tallent in Bruce McDonald's Hard Core Logo and as detective Stanley Raymond Kowalski in the third and fourth seasons of CTV series Due South, which aired in over 150 countries. The Canadian band Billy Talent is named after his Hard Core Logo character; as for his part in Due South, it has been said that his "disaffected intensity and hungover good looks" added an edge to the series. Rennie was seen in the recurrent roles of the convenience store guru Newbie on Don McKellar's cult television series Twitch City and of detective Bobby Marlowe on the award-winning series Da Vinci's Inquest, his interpretation of sex marathoner Craig Zwiller in Don McKellar's Last Night earned him his first Genie Award. After a role in David Cronenberg's eXistenZ, his first international success on the big screen was his appearance as the thug Dodd in Christopher Nolan's Memento; the same year, he impersonated a seductive drifter in Suspicious River. With the father characters of Falling Angels and Flower and Garnet, Rennie expanded to playing more mature roles, rather than young, self-destructive rebels.
He impersonated self-controlled Inspector Wood in the period drama Torso: The Evelyn Dick Story and appeared as the quiet dyslexic painter of Wilby Wonderful. He has played guest roles in episodes of various Canadian or US television series like Mutant X, The Dead Zone, Supernatural, The L Word, Bionic Woman and more Harper's Island. During the same time, he has interpreted contrasting characters in movies such as The Butterfly Effect, H20: the Last Prime Minister, The Five People You Meet in Heaven, Blade: Trinity, Unnatural & Accidental, The Invisible, Tin Man, Normal and The X-Files: I Want to Believe, his recurring role as the Cylon Leoben Conoy in the reimagined Battlestar Galactica and his portrayal of the record producer Lew Ashby throughout the second season of Californication have earned him a new wide and international recognition. In 2009–10, Rennie played a cha
Stephen McHattie Smith, known professionally as Stephen McHattie, is a Canadian actor. McHattie was born in Antigonish, Nova Scotia, on February 3, 1946, although his year of birth has been cited as 1945, 1947, 1948, depending on varying sources. An alumnus of the American Academy of Dramatic Arts, he has appeared in many films and television shows including Star Trek: Deep Space Nine, Star Trek: Enterprise, Highlander: The Series, American Playhouse's Life Under Water, his roles include 300, A History of Violence, The Fountain, Shoot'Em Up, Life with Billy, One Dead Indian, Beverly Hills Cop III. In Canada, he appeared in Canada: A People's History as Canadian hero Major-General Sir Isaac Brock, in The Rocket as coach Dick Irvin, he portrayed an extraordinary USMC sniper in the JAG season one episode "High Ground". In 1976, he played iconic American actor James Dean in the television movie James Dean, a television adaptation of the biography written by James Dean's friend and writer Bill Bast.
McHattie appeared including Centennial and Roughnecks. McHattie appeared in several episodes of Seinfeld as Dr. Reston, Elaine Benes's manipulative psychiatrist boyfriend. From 1998 to 2000, he had a recurring role in the Canadian-made TV series Emily of New Moon, based upon the 1923 novel by Lucy Maud Montgomery. From 1999-2001, he portrayed Sgt. Frank Coscarella in the Canadian police procedural drama, Cold Squad. Since 2005, he has appeared as Captain Healy, Massachusetts State Police Homicide Division Commander, in the first eight of the Jesse Stone series TV movies, which are based on the novels of Robert B. Parker, he did not appear in the latest installment however. He appeared in the pilot of Sabbatical, voiced the villain The Shade in Justice League, portrayed Hollis Mason, the first Nite Owl, in the film adaptation of Watchmen. In 2009, McHattie appeared in the Canadian IFC film Pontypool and in the Canadian thriller Summer's Blood as Gant Hoxey, alongside Twilight actress Ashley Greene, who portrays Summer.
He co-starred with Felicia Day and Kavan Smith in the Gothic adaptation of Red Riding Hood, Red: Werewolf Hunter. In 2015, he appeared in the supernatural thriller Pay the Ghost. McHattie is married to actress Lisa Houle, he was married to actress Meg Foster. 1995: Gemini Award for Best Performance by an Actor in a Leading Role in a Dramatic Program or Mini-Series for Life with Billy. 2006: Genie Award for Actor in a Supporting Role for Maurice Richard. Notes Stephen McHattie on IMDb Stephen McHattie at AllMovie