The Canadian Hat Controversy

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So I had posted this photo last week of the Cirque band outside in Montreal, Canada. It was supposed to be one of those photos where people say, “Oh that’s cool, you’re playing with Cirque and there’s the band. Neat.”

Instead I get all these emails and notes saying, “Hey, how come every one is wearing a hat but you? Don’t you know it’s cold outside. Let me send you a hat.”

Thank you for the concern, but I don’t need one. Being Scandinavian, we are born with extra layers of blubber around our head. We’re not very smart because of that feature, but our heads are always warm.

That’s how we were able to row around the world pillaging you all. Now you know the secret.

How to Make French Crepes

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My friend Olivier came over the other night to show me how to make French crepes. He’s from France, speaks French (better than me) and knows how to say all those cool things like Bon Jour and Si Vouz Plais. Did I spell that right? Hey, how the heck do I know. That’s why he has to show me how to make French crepes the authentic way.

HEY GUYS! I’ve only been cooking for a week now and I was able to make these by myself tonight. It was pretty easy and they taste awesome. So here’s how to make “Olivier’s Super Duper French Crepes”. (Remind me to get a cut on the trademark).  Olivier eats them and he’s pretty skinny – so eat as many as you want. I had about 10 crepes tonight. I will probably be as skinny as Olivier pretty soon now.

Pre-Directions
I played all Mozart on my Ipod while making the crepes. I think you should too. Crepes are regal and fun, just like Mozart. If you listen to any other kind of music your crepes will probably fall on the floor. Also notice that Olivier has one of those cool French style goatees. I think you should grow one of those too. I know it makes the process a little longer, but I think it will be worth it. Now on to the recipe…

OLIVIER’S SUPER DUPER FRENCH CREPES 

Rule #1 – We’re guys, we don’t need no stinkin’ measuring cups. Just throw stuff in.

“Measuring cups? We don’t need no stinkin’ measuring cups.” 

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1. Mix three eggs and some flour in a bowl. Maybe a cup of flour, maybe two – what do I know. Mix it till it’s thick like cake batter. The football game is almost on, just make it look like this picture:

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2. Add milk until the consistency is like cream you’d use in your coffee. You might use about a half liter or more.
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A picture of a bowl and spoon…. just move on…

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Olivier here is demonstrating the consistency which is a little hard to see without video footage. To me it looked like cream you’d put in your coffee, which is why earlier I said you should mix in milk until “it looks like cream you’d put in your coffee”. Ok, maybe I could have made these directions shorter. Oh yeah, like you’re in a hurry. You’re looking up recipes on the internet from a guy who doesn’t know how to cook? Oh yeah, you got time…

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3. Did I remember to tell you to add a double pinch of salt and a little butter? Or was it just salt? Just throw it in. You like butter don’t you? OK, just do it.

OPTIONAL: Let the batter sit for one to two hours.

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4. Everything should be mixed, now put just enough in the pan to cover the bottom. Olivier turns the pan a bit as he puts in the crepe batter so it will spread around. Now I’m lazy and I just glop a bunch in the cover it easy, but my crepes come out more like pancakes. The trick to crepes is that they are thin – so just enough to cover the pan and rotate it to let gravity help you out.

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5. You can turn the crepe over when the edges turn a bit brown. I like my crepes a little mushier (more like Swedish pancakes) so I turn them a little sooner.

6. Crepe is  now turned over – Now you can put whatever you want on the top. Remember that you’re going to roll this all up like a little burrito anyway. Here are some things I did with my crepes that were super yummy:

A. Nothing – but added pure maple syrup when finished.
B. One Egg with Salt – crack the egg right on top of the half cooked crepe and mix it around the top. Yes, it will cook fine and continue cooking once rolled up. Add some salt! That’s what Olivier does.
C. Cheese – I also tried the egg with chicken, cheese and sour cream. It was great, but I did get the feeling I was not making Mexican food instead of French.
D. Crepes Suzette! – Squeeze half a lemon over the back and add some sugar.
E. Jam! – The best! Make a line of jam right down the center. I thought this was very close to Swedish pancakes with Lingonberries (my favorite all time food, but no one ever makes it. Now I can!)

Viola! The finished crepe.

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Now I’m going to warn you about the dark side of making crepes. While making them I noticed that the time it took to cook the first side of the crepe was the exact amount of time it takes me to eat the last crepe I just made. So I went on a crepe making binge and now I have a tummy ache. Maybe you should invite people over so you don’t eat them all yourself.

Another tip – Olivier prefers butter over margarine. I tried both and I’d have to say he’s right – use real butter.

Extra Secret Bonus Tip – Olivier had authentic Canadian maple syrup, and I just used regular pancake syrup. BIG difference – get the top shelf syrup if you’re going to eat them that way.

EXTRA EXTRA BONUS TIP – If you’re going to do a crepe binge like me, start with the salty ones first (chicken, egg, etc.) and then move on to the sweeter ones. A progressive crepe bonanza.

Bon Appetite! 

Olivier and Conrad – Chefs du Jour 

Cirque Macau – Alice in the Cosmos

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This is very ironic. Here’s a news release about the overall concept of the new Cirque Macau show at the Sands Venetian that I’m working on (I knew about it, but won’t release any info on the show until it’s released to the media).

The ironic part is that one of the projects I had to cancel when I joined Cirque Du Soleil was writing my new musical version of Alice in Wonderland. It was scheduled for performance in April of 2008. Mmmm…..coincidental don’t you think?

Stéphane Baillargeon
Édition du mardi 19 février 2008

Article on Cirque Macau I released in French by Ledevoir.com at http://www.ledevoir.com/2008/02/19/176805.html?fe=3176&fp=242761&fr=68506

You can translate the original article from French to English at: http://babelfish.altavista.com/

Partial English Translation:

The director Gilles Maheu prepares an original production described in the documents of the company like “Alice with the country of the wonders, but in cosmos”. The spectacle of Venetian Hotel, inaugurated next October, will use seven lifting performances, including three calling upon about fifteen dancers. Gilles Maheu, well-known for his work of dance-theatre within the late troop Carbon-14, called upon Martino Müller, the choreographer who worked already with him on the musical Our-injury of Paris.

The CDS quickly hopes to propose “at least five” spectacles with Macao, according to an internal source. In fact, the company wishes to reproduce there with identical the model of development of Las Vegas where it is about to offer its sixth production and aims programming at ten spectacles from here 2015.

– With reading tomorrow: Will the CDS settle in London and New York?

Excerpt in French:

Le metteur en scène Gilles Maheu prépare une production originale décrite dans les documents de la compagnie comme «Alice au pays des merveilles, mais dans le cosmos». Le spectacle du Venetian Hotel, inauguré en octobre prochain, utilisera sept performances acrobatiques, dont trois faisant appel à une quinzaine de danseurs. Gilles Maheu, bien connu pour son travail de danse-théâtre au sein de la défunte troupe Carbone 14, a fait appel à Martino Müller, le chorégraphe qui travaillait déjà avec lui sur la comédie musicale Notre-Dame de Paris.

Le CDS espère rapidement proposer «au moins cinq» spectacles à Macao, selon une source interne. En fait, la compagnie souhaite y reproduire à l’identique le modèle de développement de Las Vegas où elle est sur le point d’offrir sa sixième production et vise une programmation à dix spectacles d’ici 2015.

– À lire demain: Le CDS s’installera-t-il à Londres et à New York?

Vince Seneri

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I got introduced to Vince Seneri’s music through a friend who is an executive producer on his project. Vince has a new Hammond B3 CD hitting the streets on March 1, 2008 and there’s already some buzz about it. He’s a seasoned player – check out his clips for yourself on his website at www.vinceseneri.com . The picture above is from one of his previous albums – his new CD release is called “The Prince’s Groove”.

I’ve never met anyone that didn’t like a well played Hammond B3.

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The Prince’s Groove – Advance Review

Vince Seneri – THE PRINCE’S GROOVE: Our first exposure to Seneri’s fantastic organ work was in issue #74 <http://zzaj.freehostia.com/Z74Reviews.htm> , & he’s outdone himself on this new CD (due for a March 1st release). As always, he’s got some stellar players with him, like Randy Brecker on trumpet & flugelhorn, Paul Bollenback’s guitar, Dave Valentin on flute, tenor sax from Houston Person, percussion by Richie Flores and Gary Fritz & (last but not least) Buddy Williams on drums. A track title like “Dearly Beloved” would make most listeners think “ballad” (as did I), but this is one of the most scorching Hammond B3 pieces I’ve ever heard… & the title track, a Vince original, is some of the mellowest jazz you’ll ever listen to. My favorite tune was “The Stinger”, composed by Seneri… it flows with sophisticated rhythm, & highlights each player without taking away from any of them… an absolute stunner! Mr. Seneri is (as of this moment) my favorite jazz organ player, & if you love jazz organ, you’ll share my sentiments there. This album gets our MOST HIGHLY RECOMMENDED rating, as well as the “PICK” of this issue for “best organ jazz”!

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Another Vince Seneri Review

How about three cheers for jazz journeymen? Cats who’ve been around for a good long while and can play the dickens out of their instruments yet do not qualify as stars — except to fellow musicians who know a genuine talent when they hear one. That’s what you get with Vince Seneri, a masterful keyboardist who cuts it up big-time on the Hammond B3 organ. The guy is a supreme groove-master on the level of such giants as Larry Young, Jimmy Smith and Jack McDuff. Less barbecue-style than those gents, Seneri has his own smooth, soulful sound that rides in the pocket. He also indulges in spirited improvisation that gamely pulls apart melody for sheer entertainment value. This weekend at Zanzibar Blue, Seneri is joined by Dave Valentin (flute), David “Fathead” Newman (sax) and Doc Gibbs (percussion) — all in all, a cool cast of jazz vets.

Eduard Harutyunyan

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Eduard Harutyunyan is a percussionist from Armenia and currently with the Cirque Du Soleil band for the Macau China show at the Sands Venetian. I’ve been getting to know him a bit in rehearsals. He is very serious about his craft and has a tight natural feel which he keeps in top shape daily. I’ll have more info on him down the road.

Road to Svara
Performance from Saturday, September 18, 2004 – 11:43 PM

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Armadam & Vahagn Hayrapetyan

Flute: Valeri Tolstov
Sax: Suren Kyarunts
Duduk, Zurna: Araik Mkoyan
Ud: Tarek Mustafa
Violancello: Artem Manukyan
Piano: Vahagn Hayrapetyan, Ruben Satyan
Guitar: Vardan Gasparyan
Bass: Artur Molitvin
Percussion: Eduard Harutyunyan
Drums: Alexander Grigoryan

“Time Report”

“Time Report” is one of the most popular jazz bands in Armenia, playing ethnic jazz. The original founders of the group are Khachatur Sahakian and Armen Hyusnunts, who produced their first album (Songs Without Words) in 1996. On the following year drummer Alexander Grigorian (Sash) and bass player Vardan Arakelian joined the duo.

The united band made its debut as “Time Report” in 1998. It conquered highest acclaims in the First International Jazz Festival in Armenia (Yerevan-98).

In 2000 percussionist Eduard Harutyunyan joined the group and drummer Arman Jalalian replaced Alexander Grigorian. In 2005, duduk and zurna player Vardan Grigorian joined the band.

The style of music of “Time Report” is defined as “ethnic-jazz”. Their arrangements of Armenian traditional songs and the colorful original compositions of each musician had placed the band at an advanced position on the modern Armenian jazz scene.

They have toured and performed in many countries of the world and participated in various jazz festivals.

Jay Elfenbein

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“Jay Elfenbein made his instrument roar, howl, slide and buzz… and he did so with virtuosity and flair.” – The New York Times 

I’ve been working with Jay Elfenbein in the Macau Cirque band and he’s pretty damn incredible. I guess what first caught my ear is how he can switch from early music to jazz at the drop of a hat. A swingin’ bass man and very knowledgable music historian with a passion for early music. And he’s got that loveable New York charm to boot so he’s a real catch for Cirque. I’ve been learning a lot from him about approaches to music and interpretation which has been awesome.

“Jay Elfenbein, who many regard as the finest medieval and renaissance musician in New York City, is as well an astoundingly unique jazz player, and a composer of undeniable brilliance.”

THE IVORY CONSORT – founded by Jay Elfenbein

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The Ivory Consort, founded and directed by Jay Elfenbein, is an ensemble that specializes in medieval music performed in an exciting and historically informed manner. For over ten years, they have brought ancient music to life on stage and over the radio with stunning clarity and brilliant improvisation. The Consort presents a fascinating mosaic of songs from the Golden Age of Spain, when Jews, Muslims and Christians forged a common musical language. With 10th through 13th century songs in Ladino, Hebrew, Arabic and Galician-Portuguese, the program provides a historical context for the intermingling of cultures before the 1492 Expulsion.

The Ivory Consort Jay Elfenbein (vihuela d’arco/vielle/rebab/psaltery/back-up vocals) “Jay Elfenbein made his instrument roar, howl, slide and buzz… and he did so with virtuosity and flair.” – The New York Times

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