Having played together for the last five years, Jazzstory has become a prominent force in Toronto's jazz community with their tight melodic structure and strong improvisational skills. Led by guitarist Tim Posgate, the band is rounded out by bassist Rob Clutton, trumpet player Lina Allemano and drummer Jean Martin. Together they open their magic book and chorally read from what is a never-ending story of musical reference. Marcel Gonsalves caught up with leader Posgate via the World Wide Web to exchange a few words.

What is your Jazzstory? Our Jazzstory is often a story without narrative. This is no Diana Krall sings Cole Porter type thing. Think Jack Bush meets Riopelle or Ondaatje meets bp nichol or Murray Schaeffer meets The Dinner Is Ruined Band.

Ideally, what kind of ending does it have? I like to think our endings often have surprise to them. I guess I better not tell you much more, eh?

I hear you have a strong sense of community. How is this so? Wow, that makes me feel great that someone told you that. I guess I like to know my mail carrier's name, I pick up garbage in the park with my kids, my family supports local businesses whenever possible, I run a music festival that books my friends, I play shinny with my neighbors, I cheer for the Leafs. Is this what you mean?

How does this belief in community affect your approach to music? Or the outcome? I mostly like playing music with my friends, preferably ones that live within biking distance. I think our friendship in Jazzstory comes across in the music just by it being honest and meaningful music. Community is about caring and sharing and that goes for bands too.

What relationship do you feel to the Wavelength community? Is it important to you that it is a community? I feel loosely connected at best as I have not been able to attend many shows recently. I do feel connected physically as it is in my neighbourhood, I read the zine and check out the web site and I have some friends that are more involved. I think it is great that it is such a strong community and it's probably the main reason it has lasted so long and will continue to do so.

What was the first music you played for your kids? We always listen to CKLN and CIUT. The first proper name Dylan was able to say was jazz DJ/musician Bill Grove. Pretty funny!

What is the key to your philosophy as a bandleader? And separately, how much wiggle room do you give your players in compositions? Fun is most important, for all of us. Also, I try to either leave lots of room for self-expression or try to direct the music in a way that will utilize each musician's strengths. There is lots of wiggle room as these people always have ideas that are as good or better than mine.

Are you a school-trained musician? What do you think the advantages/disadvantages are of being taught jazz in an institution? I got an honours degree in music from York University called a Bachelor of Fine Arts. I love university, I still get excited by all the creativity and learning that is going on around me when I bike through the U of T campus. I love learning and that seems like something most artists have in common. There are many ways to learn. The advantages of University, especially York, were the well-rounded approach to learning. I studied dance, science, psychology, literature and of course lots of music. One of the disadvantages of school is that you don't end up having a lot of time to play your instrument. If I had had the chance to go on the road and earn my stripes as a sideman, gigging every night, I would have done that and perhaps done a university degree later on.