2003 Montreal Stick Seminar

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Seminar Group Shot (click to start the slide show)

We came, we saw, we tapped our brains out and I'd like to think Montreal will never be the same. While you could argue as to whether or not the 16 Stick players who converged on Montreal, the most European of North American cities, really had that much of an impact on the city, there's little doubt that Montreal changed those 16 players who attended.

Each seminar is different. Each has it's own vibe, reflecting the participants, the location, the people who stop by and ask what the heck that thing hanging in front of us is, Montreal was no different. From the almost unbearable heat at the beginning of the seminar, to the party-like atmosphere throughout the city and through to one of the best seminar performances I've been a part of, Montreal helped form and inform yet another amazing Chapman Stick event.

For this seminar report I thought we could do something different. Rather than just document one point of view, I put the invitation out to folks to contribute their unique perspective on the experience. We've ended up with contributions from the event organizer, some beginners, some who have been to a few seminars and one person who hadn't even touched a Stick till Montreal.

We had it all in Montreal: seasoned veterans, energetic young players and two people who had never touched a Stick before. Rather than tell their stories for them, they've told them for themselves.

These seminars are great and only getting better. If you've always wanted to go to one, GO!

One of my favourite things to do is strap on a Chapman Stick, drop my head down, tap and listen to the music drift around me. Put on your favourite Stick disc, make a nice cup of tea and enjoy this taste of the Montreal 2003 Stick Seminar.

From: Mitch Polgar mitchpolgar@sympatico.ca

Theatre la Chapelle (click to start the slide show)

For me, it all started back in August 2002. At that point, I'd been thinking about organizing a Seminar in Montreal for months. When the Ann Arbor Seminar wrapped-up, everyone attending was writing about the experience. So, after reading all this post-seminar talk, I thought, "Why not just do it." I called up Glenn Poorman and asked him if he could give me some pointers on organizing a Seminar. Glenn was incredibly helpful and put me on the right track. Thanks Glenn.

Ten months later, Greg Howard, Jim Reilly, Steve Adelson, Jim Meyer, Jason Brock, Bruno Quesnel, Fred-Erick Sauve, Sebastian Rooney, Bob Pizzutiello, Joe Lynn, Christopher Chiasson, Karl Gans, Matt Tate, Dario, and myself all showed up in a small Montreal Theater (Theatre la Chapelle) for what was to be an incredible five day experience.

Though theory and technique were on the agenda, this was a seminar with a heavy emphasis on performance. The idea of doing it at Theatre la Chapelle was to give each attendee an opportunity to perform in a professional environment (sound, lights etc.). Also, by holding the seminar in the theatre, they could get a feel of the place before the performance. So, Theory & Technique in the mornings, followed by afternoons preparing for an evening of performances on the fourth day of the seminar.

First day's eve; Greg had arrived on the 24th so he could spend the afternoon of the 25th setting-up for the event, this saved us a lot of time. Some of us got together at the theatre around 6:00pm and went to a Greek restaurant on Prince-Arthur Street (a terrace laden street closed to motor vehicles). This was a good occasion to get to know each other a little and take in some of the Montreal summer atmosphere.

The first seminar morning is usually a set-up period. However, this had been taken care of the day before so we could get straight to work. The class was split in two groups with Greg showing the basics of Emmett's method to a new group of Stickist, whilst Jim took the folks who had been to seminars before and put them through their paces.

After lunch, we began organizing the performances. This meant figuring out how many solo and group pieces we could pull together. At this point, we had four solo performers and one group performance, so both Greg and Jim had their work cut out for them. Luckily, they both brought some group material (four pieces total) and proceeded in showing the class what they had in mind. Greg's pieces were "Still Water" and "The Offering," Jim's were "Remarkable Things" and "Throwing Flames."

That evening we all went to dinner on Prince-Arthur and afterwards checked out the Jazz Festival's opening night.

The Second day began with introducing Steve Adelson who could not be with us the first day. Steve gave the morning class while Greg spent some one on one time with a couple of guys. This would be a re-occurring theme (one instructor giving the class whilst the other two doing the one on one thing) and it worked out great. At this point I would like to mention one detail, attending the seminar we're two individuals who had never touched a Stick before, by the end of the second day they were doing walking bass lines with the left hand and simple chords in the right. I believe this is testimony to the Stick seminar's rapid learning curve.

After noon, we divided into groups to practice the ensemble pieces. One group would use the stage, the other would practice in the bar/cafe space off the theatre's lobby.

Later that evening, after another fine meal, some of us headed out to the Jazz Fest whilst others chose to go back to the residences and practice. One of the Festival activity's is a Jam session at Hotel Windham, so Steve puts his name on the list to get up there and jam it out with the boyz. He goes on, has a great jam, then after one piece, they thank him and have a round of applause for him without even asking him his name (no class) ... I thought this was absolutely unfair to Steve who would have stayed for more but the house band apparently preferred waving Steve in favour of a guitarist friend of theirs. Politics!

The third day; was a repeat of the second day, only difference was the group instructor. Jim took over the class in the morning. Greg and Steve were doing the one on ones and I was trying to get some sleep.

After noon, we had not yet worked out a piece with Steve, so he showed us Fran's Mambo, a piece on his CD "The Answer's Inside." It worked out great and was a lot of fun learning.

That evening we did not go to the festival, instead, after dinner we all went to a club called Le Swimming where an old friend of mine was playing with his band. Blue Quarter is a TechnoFunk Lounge act, Olivier Lagace plays Stick, accompanied by a bass player (Steff) and Drummer (Bittou). At this point I was ready to pass out due to sleep deprivation, so Greg, Joyce (Greg's Wife), and myself headed for home early.

The fourth day we had a lot of work to do polishing the tunes up and setting everyone's sound. The performance was that evening so we took the whole day to prepare for it, going over the tunes with all the different ensembles, doing the sound check etc. No stone was left unturned, except for one detail: presentations. Just before the show started, Jim and I realized we had not worked out what we were going to talk about between performers, so we just looked at each other and said, "We'll wing it."

The first ever Sticks & Tones evening of Stick performances started at 8:00pm on Sunday the 29th of June: two sets, 14 pieces, 1 improv, 16 Stick players and two great hosts.

First Set

1 -Condemned- Fred, Sebastian, Mitch Fred-Erick Sauve, Sebastian Rooney and Myself, opened with a piece I wrote fourteen years ago (Condemned) ... It had been many years since I played this song live, it felt great to be accompanied by two wonderful musicians; Fred on Stick and Sebastian on Drums, I played Stick and sang.

2 -The Offering- Greg, Fred, Joe, Chris, Seb (drums): A Greg Howard piece off the "Lift" CD. Everyone played very well here, however Fred was brilliant with his wild effects.

3 -Beautiful- Matt Tate and the candid eight (Solo Stick): This was the second time I had the chance to see Matt perform live, the first was in Salt Spring. Three months and he has managed to improve. I think Matt will be one of the guys to look out for in the near future.

4 -Remarkable Things- Jim R., Jim M., Matt, Jason, a Jim Reilly piece: I think Jim pulled this one out of his hat at the seminar and the guys did a great job with the arrangement. I caught myself whistling it on more than one occasion during the seminar, catchy tune!

5 -The Manifest- (written by Glenn Poorman) Jim Meyer (Solo Stick): Confidence in one's ability to deliver a performance is a must for any performer. When I met Jim Meyer in Vancouver (early April), he seemed to struggle with this issue. I can honestly say that I heard a much more relaxed Jim Meyer in Montreal, it showed in his performance. Congrats Jim.

6 -Nest on the Air- & -Kamloops Procession- Jason Brock (Solo Stick): Jason performed two beautiful compositions off his "Medicine Stick" CD, both with a Celtic vibe. Technically, his playing is a combination of expressive dynamics and flawless technique, we can expect great things from Jason, and if you don't have his CD, take my advice "GET IT."

7 -Throwing Flames- Jim R. Bruno, Dario, Bob, Karl, Seb (Drums): The cast here was of the beginner level but I honestly have to say nobody sounded like a beginner. Even Bob who four days before had never even touched a Stick.

8 -Still Water- Greg, Matt, Chris, Seb, Karl (Drums): A second composition by Greg, taken from the "Lift" CD. An occasion for both Matt and Chris to play some lead lines and Karl to play Drums.

9 -Fran's Mambo- Steve, Dario, Fred, Bruno, Chris, Bob, Joe, Carl, Seb (Drums): On the third day, Steve showed us "Fran's Mambo", a composition off his "The Answer's Inside" CD. The guys did a fantastic job with it and appeared to have a lot of fun playing it. In this piece were two guys (Bob & Joe) who had never touched a Stick until four days before: walking bass lines in the left and chords in the right!!! What can I say?

Second Set

1 -Sept Care- Fred, Seb, Mitch: A Fred-Erick Sauve composition. "Sept Care" is the first part in a trilogy of polyrhythmic compositions. Fred, Seb and myself had been getting together to practice this piece, every Saturday for a little over a month. It's a lot of fun to play and MAYBE we'll get it RIGHT next year.

2 -Fred Erick Sauve- (Solo Stick): Fred performed two pieces; the first was a Pierre Attaingnant composition followed by an Eric Satie piece. Fred has a large repertoire to chose from. When I asked him what he had in mind for his solo piece, it was a toss-up between Satie and Crimson's "Red." I'm happy he chose Satie, I don't remember the title but it was one of the evening's most exquisite moments for me.

3 -Olivier Lagace- (Solo Stick): Olivier performed a Bach piece (I don't remember the title) on Bruno Quesnel's padauk ten String. Funny anecdote, it's Olivier's turn to go on, Greg & Jim are in the Loges and I'm on stage presenting the next performer, Greg & Jim look at each other and say "hey! where's Olivier?", the Loge's washroom door open's and out rushes Olivier with his hands and fore arms dripping with water, he grabs Bruno's Stick and off he goes ... seems the toilet gave him a hard time. His performance was outstanding, wet hands and all.

4 -The Improv- Greg, Steve, Jim R., Olivier, Seb (Drums): The idea was to put four high calibre Stickists and a Drummer in a completely improvised situation (no one was hurt). No one was allowed to work things out before they went on. The result was inspiring to say the least. Approx. fifty minutes of constant change in direction with some very interesting ideas from all. Here my hat goes off to Sebastian who provided excellent rhythm in support of all the different ideas that were going on.

The fifth day; started with some one on ones with Greg and Steve, Jim gave the rest of the group some exercises to work on. This went on up until just before noon. After noon, Steve gave a Clinic on the Roland VG88 (very interesting) followed by Greg's gear clinic on the use of his set-up (also very interesting). The clinics ended just before 4:00pm at which time we were scheduled for an open door for those who wished to test drive a Stick and maybe have some questions answered. Two guys showed up and both of them are now seriously thinking of acquiring an instrument.

We wrapped it up at 5:00pm and said our goodbyes...

The following day was Greg's performance at the Montreal International Jazz Festival. Mr. Howard played a solid one-hour set in front of approx. 500 attentive spectators. After his performance, a crowed of people gathered around him congratulating him for his brilliant performance and asking all kinds of questions about the Stick.

That's my story and I'm Sticking to it.

I would like to thank Greg Howard, Jim Reilly and Steve Adelson for their teachings, all those who attended, without you, there is no seminar, Theatre la Chapelle for the opportunity to do this in such a great space, Stick Enterprises for all their support, and last but not least Christiane, my Inspiration, my Love.

Mitch

From: Bruno Quesnel davus@sympatico.ca

Five days dedicated to the Stick, in Montreal, WOW! I must admit that I was a little intimidated at first but everyone was really cool and helpful. After just a few minutes, Greg adjusted my Stick at the right angle and position and it made a big difference. Seeing beginner players and more advanced ones are really interesting and inspiring. I felt like a sponge absorbing as much information as possible.

Warm-up exercises, hand (head?) independence, theory and practice, every aspect of the seminar was great. A lot of thanks to the instructors, Greg, Jim and Steve, for their teaching and patience with the beginners like me.

The Sunday night show was great. Part II of the show was transcendent, I don't remember how long the jam went but I was very impressed to see four Stick players -and Seb on drums- with different musical background play together. I almost dropped a tear when Olivier played Bach's prelude on my Stick, what an honour!

I strongly suggest to all players to go to a seminar, it's amazing how much we can learn in a few days. Special thanks to the organizer Mitch, and hope to see you all in Montreal next year!

Bruno Quesnel

From: Jason Brock jason.brock@SYMPATICO.CA

What a great learning experience. Each teacher, as well as other students, gave me something different and extremely useful. Everything from technique, to theory and all that falls in between. Including how to prepare for a huge performance (Sticks and Tones) and pull of something remarkable such as the Improve involving Greg, Jim, Olivier, Steve and Sebastian on drums (Thank Mitch!). Sat. night watching Olivier's Band "Blue Quarter" Wow!! www.bluequarter.com

Seminars are so inspiring - can't write much more I've got to head to the woodshed. Nice to meet all the new players and veteran players, again an excellent group of people!

See you all again.

J Sunbrock

From: Christopher Chiasson scrow@interlog.com

The beginning of the seminar for the propagation of "Stickness" found me poking along autoroute 40 towards the St. Laurent exit in Montreal on a sweltering day in early Construction (the ritualistic summer road work ceremonies) 2003. I'd forgotten what traffic had been like since I'd moved from the city a decade and a half before. Mitch Polgar had given decent directions to get to Theatre La Chapelle, so once I was past the traffic and the wrong lane mishaps that always get me going through Montreal, I was actually on time after planning to be early.

The city was tilted into the side of the mountain where I stayed on the McGill University campus at McConnell Hall. No air conditioning. No Breeze. No sleep. Fortunately the people I had met that evening at the initial greet session at the venue provided a much needed buffer against the minor climatic irritations hanging about the town that weekend. Karl, Matt and Jason were good enough to accept my company and I later found that we were all stuck at one end of the residence together. This would later provide for some much appreciated hilarity from a few of the late night gab sessions we were to have. Jim Reilly was also there with us in the budget accommodations. His laid back manner offset the sometimes manic moods of the evenings.

I got the impression from (organizer) Mitch Polgar that the seminar was in essence a no pressure affair designed for players of all levels. This led me to believe that I'd end up somewhere in the middle of the class which turned out to be true.

I got to the first day of the session for a review of some technical basics with Greg Howard. I'd heard of Greg a while back but never really got to know any of his material until I'd heard a little something he'd done on a Dave Matthews tune, which I think was called "The Dreaming Tree." Refreshingly, he wasn't playing bass like I'd heard so many others do. Sure enough, Greg was a pro. I stood and listened. The beginners were given the basics about how playing the Chapman Stick should be as ergonomically stable as possible. Hand posture and an open-style technique allow the player to be flexible and comfortable which is important when one considers how much territory there is on a Stick. It is a good idea to view the instrument as a compact keyboard when you first try it out and if you've ever watched an accomplished pianist you might notice how there is more than just the hands moving. Arms and even the body get into the act of playing the instrument. It should be the same with The Stick, in Greg's eyes. The arms and body help with the time while conveying more power and articulation to the strings and the relaxed posture of the hands reduces stress on the wrists and fingers.

Having never really had my playing evaluated I was surprised to learn that I'd been using outmoded posture in the hands and fingers. I had some leftover technique that was tying me up when I was playing chords in the left hand. Again it was the open hand this lesson was reminding me about. There was the issue of keeping time in the opposite hand as well. Having played bass for the last four years or so it was only natural that I would use my right hand to keep time. Greg said that it would make things much smoother to get used to doing this in the left so that if I was inclined to solo my phrasing would (or could) be much freer.

It was the same thing that Steve Adelson told us later. The left hand has to get a point where it is largely automatic so that soloing happens without that lock-step stiffness. Through all of this, Matt and Jason (advanced students), and Karl (the beginner of the residence group), were probably discovering their own bits of wisdom as they stood in the class circle and took instruction with the rest of us.

The classes themselves were pretty orderly and never went too far beyond what the players could handle. (I remember struggling at points myself with Jim's rhythm and dexterity exercises.)

There was usually something I hadn't thought of that came up. I remember an indie lesson with Steve Adelson where he gave me some serious basics about quick chord construction using a good solid position based method. At least now I won't have to count intervals to get upper partials. Since all of the players were musicians to begin with they brought whatever experience they had.

I remember Joe Lynn who had never touched the stick previous to the Montreal class and later kept a solid bass with the group performing one of Greg Howard's pieces called "The Offering" at the concert on Sunday. Mitch Polgar also brought one of his songs to the performance, lush and sombre under the support of his Grand Stick. I remember Sebastian Rooney whipping off improbable Allan Holdsworth-sounding phrases with his mirrored fifths tuning. His natural energy would cause his hands to move like restless birds.

I remember Jim Meyer and his wife in conversation at the Afghan restaurant, polite and affable as they recalled living in Toronto for a time. Jim later rendered a piece by Glenn Poorman in performance that was quite beautiful. I remember someone saying that Jim Meyer had happily disproved their theory about Stick players over thirty not being able to make major technical strides on the instrument. I remember talking to Bob Pizzutielo about the problems of latency in pitch to voltage synth technology and watching him draw sine waves to illustrate the conclusion we'd just come to.

I remember Fred Eric Sauve's brain melting forays into the realm of sonic textures during the performance of "Offering" contrasting with the deep, shimmering counterpoint of the piece he wrote for three sticks and performed with Sebastian and Mitch. Even more intriguing was the solo piece Fred presented by Eric Satie (Gymnopeadia III), an elegant, pensive work that, with the other performances, again showed that he wasn't just someone who was obsessed by the innards of his rig but was also a well rounded player and composer.

There was the dramatic original solo piece by Matthew Tate, the energy of which at certain times resembled flamenco contrasted by Jason Brock's delicate harp-like composition called "Nest on the Air." I remember Olivier Lagace dropping Bach organ etudes backstage as if they were afterthought. It was a side of this Blue Quarter man that few people get to see. Then there was Steve Adelson's piece (Fran's Mambo) with its veritable orchestra of Stick players and that ominous booming sound of the bassline that suggested a seance for the ghost of Raymond Chandler.

There was a final 20-minute or so improvisation on the concert night. The instructors and guests all got up to create a performance of music which lasted close to half an hour it seemed with no preparation whatsoever. Greg Howard was no stranger to this having made a recording called "Water on the Moon" based on this very principle. All of the players were competent enough in their own right to make the idea work. There came a certain point in the performance where the sounds seemed to resolve and take on the character of clock chimes, which was particularly intriguing and poignant considering that the whole event was to conclude the next day.

I remember Matt introducing me to Meshugge, a Swedish metal band with this improbable groove to their music. Nothing from that genre had caught my ear like that since The Dillinger Escape Plan. I remember the dark side of Jason Brock and the hilarity it produced. I remember Matt's appreciation for the city's finer walking beauty, for the most part descended from good French families. I remember agreeing that there was a lot more of it here than anywhere else I knew. I remember Dario's toast so solemn at Swimming in tribute to the evening of Blue Quarter music and the mood of the weekend that no one was allowed to use the glass after it was (un)made. I remember Karl on kit solidly shepherding me through one of my nail-biting group performances (possibly in exchange for some fretboard swim buddy activity in the first classes).

All these things reminded me "my blood is [still] made of laughter". Thanks to all for reminding me.

Chris Chiasson

From: Joe (Horatio) Lynn jlynn@berklee.edu

I have always been interested in the Chapman Stick but have been unable to find an instructor in Boston. A 5-days seminar in Montreal sounded wonderful, so even though I knew nothing about playing the Stick, I signed up. Initially, I told the organizer, Mitch, that I would be there just as an observer and that he did not need to include me in the performance night as I did not even have a Stick.

When the seminar started, Greg kindly loaned me a prototype Stick to enable me to follow along with the very useful instructions provided by himself, Jim and Steve. With a little help from my own guitar playing background and musicianship training, I was soon able to play a little something on the Stick. When the participants were assigned spots for the performance night, I was confident enough to be included. Everyone worked very hard to be prepared for the performance, and when the big night came, we went out and totally enjoyed the teamwork.

When the seminar ended, we left with the feeling that there is still very much to learn and with a great yearning for the next seminar to come.

Joe Lynn

From: Steve Adelson SteveAFran@aol.com

Improv (click to start the slide show)

The Montreal Seminar was simply spectacular. Aside from getting a speeding ticket on the NY Thruway, there were many positive episodes during the week. Fifteen extremely friendly Stickists learning from one another, playing music, socializing, downing a few Boreales stouts, and presenting a very professional concert of much diversity. Blew me away how well everyone played. Had a blast with the 4 Stick "free" jam. Mitch and Jim and Greg organizing and holding it together. Greg never sounding better at the Mall performance. The Jazz Festival itself was just that, a Festival. Great music and so much of it. It was everywhere. Sat in with a piano trio, and a guitar duo on two occasions.

Most importantly, was the response from the students. They attentively absorbed the theory, techniques and concepts that were presented throughout the week. Great give and take experience. Good job by all.

SAME TIME NEXT YEAR?

(One funny visual-- observing all the guys in the dressing room before the concert, tapping their instruments silently, all wearing the same Stick T-shirt uniform, anxiously pacing and bumping into each other. It looked like a Gary Larson cartoon begging for a caption.)

P.S.-loved the energy, music and humour of Olivier L. And thanks to Mitch again for the invite to be part of this event. Jim's organizational skills and Greg's energy made every aspect a positive experience.

Steve Adelson

From: Greg Howard Stickist@AOL.COM

I've been to a lot of cities, and can't think of one that stands above Montreal as a great place to visit, not to mention a great place to have a Stick seminar.

The festivity of the Jazz fest was all around us, and it was really heart-warming to have such an enthusiastic response to my performance there. There is a relaxed vibe and an appreciation for music that's more pronounced in Montreal than most cities. I can easily see Montreal becoming a Stick nexus for the Northeast.

The seminar was really focused on performance, so the folks who came were serious about working and performing. This made the "tangible" reward of the concert that much greater. A five-day seminar is a long seminar, but I think the extra time really made the event a big success.

Thanks to my fellow teachers, Jim and Steve, to Emmett and Yuta for all their support of the event, and to Christiane and all the other folks at Theatre La Chapelle for providing us with a great welcome, a perfect venue, and a professional and attentive crew.

My biggest thanks go to the students. Without your dedication to improving your craft, there would be no reason to hold these events. By concentrating our efforts together, we are advancing the art of Stick playing in a really unique and powerful way. It's great to hear the improvements in returning students' playing, but I don't credit the seminars for this. The events may provide inspiration and ideas, but I know the hard work happens at home, in the woodshed. And there's been some woodshedding.

It's exciting to watch the next generation of players following close behind me. I'm honoured to be your teacher, and I'm proud to be your peer.

Looking forward to the next ones, coming soon to a city near you....

Happy Tapping,
Greg
www.greghoward.com

And I'll take the last word: Jim Reilly play_stick@canada.com

A couple of things I remember:

Second set performance night, time for Olivier's solo tune but Olivier was nowhere to be found. It wasn't just time for him to go onstage, he was late. Mitch had just introduced him. Greg came running backstage, "Where's Olivier?!?"

Then we noticed the light on in the bathroom. I knocked on the door. A wide-eyed Olivier opened it.

"You're on, right now," I said.

"O.k., now?"

"Yes, Mitch just introduced you."

Off he goes. We hear a few muffled words from the stage. Greg comes backstage barely able to control his laughter.

It seems that the toilet had broke. The little wire that attaches the lever to the plunger had broken. To flush the toilet, you had to lift the lid, reach into the bottom of the tank and lift the plunger by hand.

Greg knew this because he had had to do it earlier. Greg knew Olivier had to do this because Olivier's hands were dripping wet when he came on stage. Olivier shook them off, water flew in all directions, he picked up his Stick (not actually his but a borrowed Stick) and played.

While Greg is backstage telling us this, Steve Adelson came in, turned towards the bathroom and a unison chorus heard the group of us shout as loudly as we dared, "No...!"

Same night: I broke a string. Yes, I broke a string while playing my Stick. Right at the start of our group improvisation, the highest melody string broke. I couldn't believe it, nobody breaks Stick strings, but there you go, I did.

What does one do when the break a Stick string? Do I stop everyone? Do I ask for a new Stick? Is it even going to stay in tune?

Well, it stayed in tune. And I played without it, of course after I made a big production out of unwinding it and throwing it off stage. So there you go, I inadvertently invented the nine-string Chapman Stick.

Once I got use to it, it was actually very informative. I suddenly had to think about things again. I couldn't rely on locations so much and had to transfer my patterns and shapes to new places to make them work. I was forced to listen in a new way and suspect my playing was better than it may have been otherwise. Who knows, it sure was fun though.

I remember having to take my Stick out of the gig bag and check it through in the flight case. Yes, it does happen. I wasn't allowed to carry my Stick on the plane.

I remember how wonderful it was to hear other people interpret my tunes in performance. I remember some amazing meals, great music both at the seminar and floating through the Montreal nights. Most of all I remember 15 other Stick players getting together and creating some magic.

See you next year,
Jim Reilly play_stick@canada.com