I don’t know about you, but when I need to hunker down and really get work done there are specific albums or artists I’ll queue up in iTunes.
Today I got to thinking about just that as I popped by lowercased‘s office (a.k.a Darrell Edwards) to grab some snaps he’d done for me. Immediately I was hit with the solid vibes that are “A Tribe Called Quest” (TCQ).
I’m not sure how much work I’d get done with TCQ bumping out of my speakers, though. In fact I can almost guarantee that save for their song “Electric Relaxation”, none of their music would inspire me to focus on the task at hand. I’d end up in “listen-mode”: eyes closed with a subtle nodding of the head, in 100% agreement with every word and beat.
Me personally, I rock a lot of progressive house, drum-n-bass and trance when I need to block out life and get the job done. I’m talking Deadmau5, Pryda, Underworld, Amon Tobin and “Essential Selection” shows from days gone by.
That, combined with caffeine, usually gets the job done.
Have any music suggestions for getting job done? I’d love to hear ‘em.
Elling from The Scope gave a live review over Twitter last night at 9:30pm of The Subtitles’ new album Quick and Painless.
It was a beautiful sight to behold, but if you missed it you can hop into the Wayback Machine and give it a scroll on The Scope’s Throwing Rocks At You music blog here.
To get the full flavour, you should delve into The Subtitles’ Twitter feed and see the rapartee they had going with Elling throughout the review. And here’s their MySpace and their website for your enjoyment, too.
Live and interactive music reviews. I think The Scope is really onto something here.
It’s 11:00pm on a Monday night; an unlikely night for such a convergence. Tonight, the typical glut of Toronto hipsters (rolled up jeans, Docs without socks, bandannas around neck, bike seats peering out of canvas backpacks) is complemented by an odd array: a gang of Russians and Ukrainians laughing and drinking along one side of the bar; an excited tour group of Asians and Europeans on the other. At one candle-lit booth sits an Alice Cooper look-alike, surrounded by a quasi-Emo squad of band-mates and friends.
And on-stage? Unexpectedly, it’s a harp.
The event is the innocuously-titled ‘Elvis Monday’, a weekly Indie music showcase that’s been running for 25 years at the Drake Hotel on Queen West. Attendees never know what they’re in for from week to week, and the occasional disappointment is evened out by the chances of seeing the next-big-thing before it even develops a cult following. Having hosted the likes of Beck, Sum 41 and Cowboy Junkies over the years, it’s a routine stop for up and coming musicians seeking to gain exposure and diversify their following.
In that sense, the artist tuning her harp fits right in. Kira Sheppard has steadily been making a name for herself the past year, since moving from her native Newfoundland to the cold steel swank of Toronto. From intimate Rose & Thistle-esque pubs in Parkdale, to the infamous El Mocambo on Spadina; from artist co-ops like the Tranzac to showcases on Toronto Island, Sheppard has been branching out and reaching new audiences in a way that wasn’t possible in her beloved home of Newfoundland. The recent release of a 7-song, self-released EP has intensified her exposure, and resulted in growing interest from producers and festival organizers. Yet even as she spends her nights taking on the stages of this city of 2.5 million, she hasn’t lost sight of how her homeland inspired – and continues to inspire – her music and creative vision.
Don’t you just love a good mystery? And what better symbol of the feeling evoked by the probing of the unknown than the box? It’s contents sealed, hidden from view, begging to be revealed.
Take this here mystery box for example, perched upon the island where Gower and Queen’s fork ways.
It just kind of showed up out of nowhere sometime in the last week or so and, last I checked, is still there unopened.
I NEED TO KNOW WHAT’S INSIDE.
It’s the not knowing that keeps me interested.
Surely not the only reason why they chose the name (I can think of at least one more), four female musicians from around these parts have formed a super group and dubbed themselves BOX.
Just what it is they have in store for us is still relatively unknown, but this brief documentary of the group’s formation perhaps holds a clue or two.
So far it looks like all we know is that BOX is made up of Janet Cull, Kelly-Ann Evans, Natalie Noseworthy, Jen Winsor, and that they’re coming.
Meanwhile, a quick glance at their Facebook Fan Page reveals that, in the short time since their inception, BOX has opened up a flood gate of appreciation from fans who have yet to hear a single note of their music.
But that’s on its way, the page promises, along with a fan testimonial episode on what they’ve dubbed BOX TV.
At approximately 9:30 AM on Wednesday, August 18, members of the Royal Newfoundland Constabulary will march from Fort Townshend to the steps of City Hall where the City of St. John’s will confer the “Freedom of the City” upon the Royal Newfoundland Constabulary. The city will also officially name the parkette where the Legacy Sculpture will be erected, as “Constabulary Court”.
Following this momentous occasion, members of the RNC will then march to Constabulary Court located at the intersection of Gower Street and Queen’s Road in downtown St. John’s and will be accompanied by representatives from the fire department and Her Majesty’s Penitentiary. Her Excellency The Right Honourable Michaelle Jean, Governor General of Canada, will officially unveil this monument called the “Legacy Sculpture”. This Sculpture will symbolize and acknowledge the important contribution that members of the RNC have made since 1729.
The Sculpture was commissioned by the RNCHS and created by world renown artist Luben Boykov. It depicts a constable in period uniform (late 1800s).
In one hand he is holding a bulls-eye lantern and with the other, the hand of a little girl. He is guiding her to safety. This depiction reflects the strong connection between the RNC and the people of our Province.
This will not be an entirely biased review of Buddy Wasisname and the Other Fellers. I did not grow up listening to every Buddy Wasisname album since Makin’ for the Harbour which came out not three years after my birth. I do not know all the words to Sarah, The Hillside in September or Shinny On The Ice, to name a few. I never go to any shows within a 200km radius. I did not meet Mr. Blackmore when I was a kid in Marble Mountain’s old chalet during one of their shows. I would not giggle like a little girl if I were to meet them again.
OK, Ok. I’ll admit it, they’re my heroes. All of them, not just Kevin a.k.a Buddy, but Rocky and Chaulky too. From the jigs-n-reels to comedic breaks, all brought together nicely with the timeless Newfoundland odes and songs… I’m a fan of it all.
And nothing says “Newfoundlandia” quite like a performance by Buddy Wasisname and the Other Fellers on George Street, opened by none other then Rex Goudie himself. If memory serves they opened with Make ‘n’ Break Hornpipe and the not oft performed Mr. McGuire Sit Down. Personally, I was absolutely thrilled to hear Mr. McGuire Sit Down as it’s my all-time favorite Buddy Wasisname song and haven’t seen it live in years. They played straight for almost an hour and a half, mixing upbeat jigs with songs that’ll bring a tear to the eye. As well, they did Chainsaw Earl which they wrote sometime in 1991. And almost 20 years on it still had everyone in stitches.
Last year, Richard Underhill was here with the offbeat jazz fusion group, The Shuffle Demons. This year he was offering up much more traditional jazz fare with The Richard Underhill Quintet at the Masonic Temple.
Richard Underhill Quintet | Photo: Melissa Hogan
Planet Earth, a Toronto based funk group, was rocking Dusk. It’s a shame that people didn’t take advantage of the groove to get up and dance. Perfect opportunity.
Planet Earth | Photo: Melissa Hogan
Planet Earth | Photo: Melissa Hogan
The crowd at the Majestic got it, though, and were up dancing the night away to H’Sao, a family group originally from Chad that exuded joy and demonstrated those elusive sibling harmonies that I love so much.
The audience especially loved when band members would let loose and dance. It was mesmerizing.
The first band I checked out on Friday night was the Griffith Hiltz Trio at Yellowbelly Brewery. I just barely missed seeing this group last year.
Right off the bat I was impressed with the way that Nathan Hiltz mastered the set of bass pedals at his feet. No bass player? No problem.
Then Johnny Griffith pulled out a bass clarinet and proceeded to play it at the same time as his alto sax. Colour me impressed.
To round out the band, drummer Sly Juhas easily could’ve challenged Alex Cuba for the title of Best ‘Fro at the Wreckhouse.
Griffith Hiltz Trio | Photo: Melissa Hogan
Nathan Hiltz | Photo: Melissa Hogan
Meanwhile another group from Toronto was on deck at the Martini Bar. I’m sure a few people did a double take when they read the group’s name in the schedule: The Worst Pop Band Ever.
The group describe themselves as being the ugly love child of Miles Davis and Radiohead. Jazz traditionalists, they are not.
To illustrate: we were treated to a tripped out version of Journey’s Don’t Stop Believing mid-set. I mean, really, how many groups do you see at jazz festivals with a DJ?
Worst Pop Band Ever | Photo: Melissa Hogan
Worst Pop Band Ever | Photo: Melissa Hogan
Chris Gale of The Worst Pop Band Ever | Photo: Melissa Hogan
The crowds might not have been mighty but according to sax player Chris Gale, after the show they received one of the best compliments they could get: “Man, that set was a trip!”
Friday evening featured a lot of good music. I’d attempted to take in as much as possible, hitting up Yellowbelly, Martini Bar, Dusk Ultralounge, Fat Cat and The Majestic Theater.
Despite Matt Anderson being the most popular event of the night, I was left singing a Rowdy Blues song entitled “All I Want Is To Travel” all of Saturday afternoon as I ran errands. You can check them out here.
Also on tap for Friday night was The Lori Cooper Band. My girlfriend quite liked Lori Cooper as well and being that she’s local (Cooper) we’ll probably be making the effort to see her again from time to time. She kind of reminded me of those silly people who just love to dance, sing and carry on… always smiling while aiming to make you laugh and enjoy life.
Rowdy Blues at the Majestic | Photo: Colin Peddle
Rowdy Blues at the Majestic | Photo: Colin Peddle
Lori Cooper at the Fat Cat | Photo: Colin Peddle
Lori Cooper at the Fat Cat | Photo: Colin Peddle
Tidbit time: Lori played keyboard for Thomas Trio and Red Albino, who in my opinion are creators of one of the best songs in Canadian history with “142 Thru”.
Dominic Mancuso at Dusk Ultralounge | Photo: Colin Peddle
Dominic Mancuso at Dusk Ultralounge | Photo: Colin Peddle
Dominic Mancuso at Dusk Ultralounge | Photo: Colin Peddle
Matt Anderson at the Majestic | Photo: Colin Peddle
Matt Anderson at the Majestic | Photo: Colin Peddle
Matt Anderson at the Majestic | Photo: Colin Peddle
On the surface, George Street looked pretty chill last night. Like the temperature in the air, it seemed like all the heat from the previous night of jazz and blues had dissipated, perhaps in anticipation of a hot and hectic Friday.
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You merely had to step inside one of the many venues for last night’s Wreckhouse, though, to realize George Street was in fact burning up with the heat of jazz and blues.
My first stop last night was my first stop from the night before. I couldn’t resist the call of the Creaking Tree String Quartet, giving their second and final performance of the festival at Yellowbelly.
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Once again, the Creaking Tree String Quartet stole the hearts and expanded the minds of the capacity crowd.
While we’re on the subject of capacity crowds, The Majestic was literally filled to the rafters for Alex Cuba.
Click to enlarge.
Click to enlarge.
Cuba had the heat turned up on bust.
Shawn Beresford and the Soulution at the Fat Cat and Elvis Bossa Nova at Dusk Ultra Lounge rounded out the night for me.
Click to enlarge.
Click to enlarge.
It’s been a great week of jazz and blues so far. Here’s looking forward to what the Wreckhouse weekend has in store!
Elvis Bossa Nova: Elvis tunes re-imagined in a blend of rock, jazz, Latin, bluegrass, country, classical and improv?
I’m in.
Elvis Bossa Nova | Photo: Melissa Hogan
If you were expecting to sing along with Hound Dog or Jailhouse Rock however, you might’ve been disappointed. The songs were definitely Elvis, but they were so deconstructed that it’s hard to pick out which tune was which. That didn’t make the music any less enjoyable, though. And the blistering solos from Michael Davidson on the vibraphone were certainly a highlight.
Not bad for something that started out as an experiment.
Alex Cuba | Photo: Melissa Hogan
Despite the cooler temperatures outside, inside the Majestic it was downright sultry. All thanks to the man with the afro.
Alex Cuba is a Juno award winning singer-songwriter originally from Cuba. The stage name gives it away, eh? He’s got a smooth charisma that pulled in the packed house. There were a lot of bopping heads and more than a few dancers along the aisles.
Alex Cuba | Photo: Melissa Hogan
Cuba’s songs have all the elements to make for some perfect summer listening, which was exactly what we got last night.
