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If it is cut off from those roots, it may, as it already has with some players in Europe and Quebec, become only jazz-influenced 'improvised music. Miller's purpose required that he concentrate not on profiling the most popular or widely recognized figures in Canadian jazzbut on telling the stories, often in the musicians' own words, of those who have laboured at their art in relative obscurity.

The latter are identified by their stronger personal commitment to jazz, a commitment that often invites personal hardship and meagre financial rewards. Although it is tempting to quibble over the inclusion or exclusion of particular musicians in the present survey, the profiling of forty musicians four are hold-overs from the earlier volume and the passing reference to many more provide an admirably comprehensive picture of the varied personalities who are actively contributing to the Canadian jazz scene.

Another stylistic extreme is examined in a short piece on Kid Bastien - not, as might be expected, a New Orleans creole but a British immigrant who plays rudimentary Dixieland in Toronto. Canadian jazz musicians have amazingly diverse geographic origins, and Miller gives a brief outline of activity in communities from coast to coast; however, playing jazz is essentially a collaborative endeavour and those who would grow artistically must seek out ever more accomplished collaborators who will both support and challenge them.

Not surprisingly , almost thirty of the musicians profiled are located in either Toronto or Montreal. Seven are associated with Vancouver while most of the rest are expatriates. Mark Miller is probably the only writer who makes most of his living covering the Canadian jazz scene. New Year Sale.

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