Canadian Music Week is more than a festival - it's a bunch of conferences bundled together and the musician-oriented component starts tomorrow. Actually there's been some music events all week, some of which I would have loved toss but when I went to pick up my badge this afternoon, I was too early. You gotta wonder why the artist badge desk and the media badge desk were open for business but the conference badge desk was not open till 4.
This blog post is gonna be another big whine - I should be grateful they gave me a damn pass, but I can't help but point out some deficiencies. I'm not inflicting anyone with my opinions - this is on myt blog where only people who came looking will hear my rant.
To start with, I just got my "welcome to CMW" email at 9:30 tonight. Then I go the the website to see what I'm going to take in. Not real intuitive. I'm finding it hard to find a schedule and when I do, it's not very friendly. When you bring a list of venues, you should be able to see who's playing at each venue with a click.
At this point, I decided to try the app hoping it might be a little more friendly. First I try to download it on my iPhone and I get a message saying I need IOS 7 (and I'm still on 6). It offers me the option to download the previous version but I should have known better, because it just downloaded last year's app (with last year's schedule...).
So then I pull out the iPad and download the proper version, but alas it doesn't really offer me any more features I was going to check a few shows and see if the web and app were totally integrated or if some poor sucker had to re-enter all the information twice
When I finally get the app downloaded, I see that it does not search by genre (like the website). That's a bummer. I was trying to discover what artists might appeal to me. Searching by "genre" is the holy grail of festival websites and apps (and it's the next frontier in event calendars..."if you like that, then you'll like this") Even though the CMW artist description included genre labels, there was no way to pull up all the artists who were tagged with a specific genre on the app. Oh well,
I'm really just ragging on myself here, because we weren't even able to achieve it on the jazz festival site. It's not something that can be automated, and anyway we are just giving our opinion of the "genre". I think with CMW, they actually ask the artists to put some genre(s). Of course, half the rock bands include "Blues"...
So things I would have seen tonight if I had got my badge:
1) Xavier Rudd was at the Opera House, in my end of town
2) Richard Flohil had a showcase at the Painted Lady with some great talent from Quebec
3) Jane Bunnett kicked off 4 nights at the Jazz Bistro - Just last night I had asked Jane's husband, Larry Kramer about putting me on "the list" (which is unlikely considering he was calling me to point out that I had not included them in the list of JUNO winners that we published in Crescendo. Argh! "You always hurt the ones you love"
Saturday, April 18, 2015
Here I am pushing seventy, playing guitar for more than fifty, and always boasted that I never took a guitar lesson or even made a conscious effort to learn a new chord, never played slide, used an open tuning or stepped on a wah-wah pedal. But for the last couple of weeks, I've been using the internet to learn a couple of jazz tunes (Round Midnight, Everything Happens to Me) and last week when Harry Manx came by with his new 6-string banjo, I became enamoured with the DADFAD tuning. Wonders never cease.
A video posted by Peter Blackstock (@blackstock360) on
Monday, April 6, 2015
With all the recent kerfuffles about the "blurred lines" of plagiarism, I was interested to note that Dylan was sued for basing "Don't Think Twice" on a 1959 release by Paul Clayton, "Who's Gonna Buy You Ribbons (When I'm Gone). Dylan got out of the suit by showing that Clayton had based his song on an old Negro public domain song called "Who gon Bring You Chickens"
There's an entire academic lecture about that song right HERE (you can skip across the first 10 minutes of introductions)
When I heard those clips of Marvin Gaye's tune compared with "Blurred Lines" on the news my first thought was that the 7 million dollars should go to the Gaye's drummer because that groove is what they copied...but how you gonna copyright a groove? The lawyers must be loving this.
Saturday, April 4, 2015
Thursday, April 2, 2015
Here's a big THANK YOU to all who contributed to the Indiegogo Campaign to fix my old guitar. I knew she had more life in her...
Yes, she's Baaaaack! I just got my beloved Epiphone back from the 12th Fret repair shop and I'm so happy to be reunited with her. Thanks to Gord at the 12th Fret and the donors to my Indiegogo crowdfunding campaign. It was ready sooner than they said and the repair cost less than they estimated, $967.00. Seems like a lot of $$$, eh? I don't know if that beat up old guitar is worth a thousand bucks on the open market but it is sure worth it to me. I wish I could say I was "back in business" but the truth is that the business is kinda slow right now. Maybe it's just as well because I'm going to have a lot of non-music stuff on my hands with The Crescendo deadline yesterday and the jazz festival website going live on the 14th. I'd still rather be playing guitar but I figure if I just hang around long enough I'll qualify to be part of some tour package of Canadian blues old-timers.
Speaking of old Canadian blues guys, King Biscuit Boy, who would be seventy this year if he had lived this long, has gotten a lot of props in the last week, a two hour radio documentary hosted by Rob Bowman on CIUT and a "jam" at the JUNO Awards with the hottest blues players on the scene today. The song was "Corrina," a bit of a signature tune for Biscuit. I posted an iPhone video on my Facebook and got over a thousand views. You can see it here
Other JUNO highlights:
The first JUNO event I attended was Thursday night - a French-Canadian "soiree" that included some Quebecois delicacies (which were mostly gone when I got there) and a craft-beer sampling (of which I did not partake) but I did see the show by Marco et les Torvis - a bit reminiscent of "La Bottine Souriante" and that's a good thing. Maybe a little over the top with the schtick and mugging for applause. Before the band were a couple of septuagenarians, a gentleman playing jigs on a harmonica and a blue-haired lady with some rather blue jokes which she read from crib notes. Her humour went over great with the Quebecois crowd but there were a few afro-franco's in the crowd who looked a little aghast.
I didn't get to any of the exclusive private parties but Gibson Guitar put on a big shindig after the Gala in the former Hamilton train station where I ran into a few old friends including Phillip Sayce, who just signed to Warner Bros. and I bet will be a Blues nominee next year. He said he'd enjoyed my You Tube videos. The sound was great, even for a big ole train station. Steve Marriner introduced me to one of the most respected audio engineers in the country. He's the house mixer at many big events and we commiserated how more headline artists insist on using their own soundman - sometimes to their detriment. I joked that there should be an App that would allow the resident soundman to sit off to the side and "override" the mix being done at the console by the visiting soundman. And I must admit, a lot of them would not even notice... He thought that was a pretty good idea and I'm sure many others would, too.
I was in Hamilton for three and a half days as part of the army of media weasels covering the JUNOs. We get to watch the awards but not in the big hall. We are sequestered into a room backstage with a couple of big-screen TV's where you watch the show until the sound gets turned off for a Q & A with the winners. I didn't have any questions and just wanted to enjoy the musical performances so when it came time for the blues jam, I snuck into the main hall and shot the aforementioned video.
I looked over and saw my pal Blues Doctor Julie Hill - a staunch vegetarian - and was thinking I would have swapped the vegetarian lasagna in the media room for the big fat steak that was being served at the $450-a-plate gala dinner. The reporter next to me thought they were "rubbing it in" too much, when our media co-ordinator read off the menu from the gala dinner.
Really, we should be happy that they're feeding us at all - how often does that happen? In the media room I found myself chatting with David Farrell. I guess you could say he was the senior music industry journalist in attendance and I had a chance to thank him for his nice review of "New Folk Blues 2.0" on the New Canadian Music website. David was very encouraging and said NFB2 was "clearly not a rank and file blues album." He said it like it's a good thing :-)
If I sound "whiney" about the JUNOs, I guess I'm still smarting from their rejection of my album because it had the same base tracks as a previously released album...yeah, that's why I called it "2.0" I couldn't dispute their argument that you can't just add some horns and strings to an album and then re-submit for a JUNO the next year. But I did feel like I got a bit misled at the beginning and I would have saved myself the $60 submission fee if I had known in advance.
Sunday was the big broadcast with the red carpet and celebrities but I woke up with a cold, coughing and sneezing. I made it to the noontime "Songwriter Circle" but after that I just made my way home to watch the JUNOs on TV with a nice cup of tea. The "Songwriter Circle" was at Hamilton Place's "Great Hall" - a beautiful facility but I think there's a big design flaw to that room. I noticed right away that there was a small army of ushers and flashlights were being turned on at any sign of movement - and now I know why. Twice I tripped on their steps and I wasn't the only one as I observed someone in the First-Aid room. You'd think they'd try to accommodate the geriatric crowd that come out for the classical concerts. Anyway, I've still got a sore ankle - I can't say the performances did much for me, considering this was the "creme-de-la-creme" of Canadian songwriters - Lights was my favourite - but like I said, I was a bit under the weather.
Two more things about the JUNO's and Hamilton. I don't think I saw a single CD hand-off in the whole week-end. The only band that mentioned CDs from the stage was the band from Quebec, Marco et les Torvis who entertained at the "soiree francophone." CDs have not only ceased to be the delivery system for music, but they are no longer even a "calling card."
The month before JUNOs was the Winterfolk Festival where I did get to play a set and even did a bit of an electronica mash-up with Joel as a finale! I also did a songwriting workshop with the inimitable Wendell Ferguson, who I got to know a little better and here's where we discovered our mutual admiration for guitarist Lenny Breau. I sing "Last Time I Saw Lenny" and Wendell plays those beautiful harmonics just like Lenny. After the song, Wendell has a couple of funny stories about a recording session with Lenny.
Out and About: Harry Manx came to town for the first time in a long time. It was a great show with Steve Marriner sitting in on harp in that most elegant venue, the historic Winter Garden Theatre. What an amazing space, built in 1913. My seatmate Greg Vandall remembered that he had taken part in the restoration project by helping collect the branches that adorned the ceiling. On Sunday, I decided to finally check out Ken Whiteley's Gospel Brunch at Hugh's Room, especially since he had a great sacred steel player as his guest, "Big Ben" from Rochester. It was quite uplifting.
I slipped out of Hugh's to catch the end of the the Lazy Cat Cafe at the Bain Co-op. This was the scene of my guitar tragedy when the Epiphone took a fall and broke its head off. It was only fitting that I should come back to the "scene of the crime" and I wanted to show the guitar to David Shilman who had suggested I start a crowdfunding campaign to get it repaired. The 12th Fret did a beautiful job, but the strings had not really settled yet and when I was asked to sit in for the big finale, I just grabbed it out of the case as they were starting to sing "Jambalaya." I noticed right away that I was way out of tune, but I just tried to strum discretely until I was called to do a solo. Well that caught me off guard and it sounded like shit but I guess they were not too concerned because this morning I got an email inviting me to be the "feature" next month.
Word on the Street: Number 9 Studio owner George Rondina is looking for a partner. A lot of fine music has come out of that studio, much of it shepherded by George Koller. It could be a marriage made in heaven but you know what they say, "If you want to make a million, you better start with two" (actually it was me that said that in my "Entrepreneurial Blues" :-)
The buzz about the "Cobalt Prize" and the article we published in MapleBlues has generated some comments from some distinguished musicians in the blues community who are wondering out loud if the blues really needs a "saviour". I'm thinking a thousand bucks and a whack of publicity is a nice windfall for a songwriter who the Cobalt jury considers has the best contemporary approach to the blues idiom. Maybe I should have submitted "The Day Coke Saved The Blues," my tune about how one songwriter's tune got picked up for a Coca-Cola commercial and literally saved the record label who owned the publishing (gave it a second wind, anyway). But I never entered a song contest yet, so I'm not going to start now. Besides, this tune is a little too inside, since I know the folks on the jury and the creator of the Cobalt Prize figures prominently in the song. The winning song was from two great friends who are most deserving, Raven and ShoShona (aka, Digging Roots). It's not your typical blues song, but that's the whole idea.
I found a great blog post called 9-things-you-must-know-before-choosing-a-music-venue from an L.A. musician who has a great DIY blog for indie musicians. There are some new live-music showcase venues materializing in Toronto. Thanks to Richard Flohil's First Thursday Series, the Painted Lady on Ossington might become a music destination. And there's a new venue in the west end called Fat City Blues. I like the name and I like the pictures I've seen (yes, there's a real piano). Then again I heard of a restaurant that was gearing up as a live music venue but cancelled the whole idea when they were told they would have to pay SOCAN thousands of dollars for a license. It was a deal-buster for this small business.
Link of the month: how-genre-affects-popular-musicians-life-expectancy
There is a new Fraser & DeBolt album coming. To some Blainreaders, this will be a very significant life event - I know that many of you will have experienced a life event when you heard the first album. The second album (which I produced) did not have the cosmic impact of the first. It's a band album and I'll tell you the story: Columbia Records loved Fraser & DeBolt (for as long as any label could love an artist) so we had a big budget to make a second album but we tried to record with some Townships players and what we needed was studio cats. After a week of messing around in Toronto's newest studio, Manta, the band and my co-producer Jesse Winchester went back to Quebec. We might have all gone back but the assistant engineer, Rick Capriole, said he had a band that could walk right in and make it happen. And they did. The band was Simon Caine and included Dennis Pendrith, Pat Godfrey and lots of great other players. This release includes a couple of out-takes from the sessions I produced for the "With Pleasure" album. "The Flight of the Light Air Force," written by David Owen (now living out west), which was not included because it was too long (and too slow, as I recall). This is just a rough mix, too. I'd love to share the technical aspects of those sessions with the gear-heads but suffice it to say... the first Studer tape recorders in North America, the first studio phase shifter in the country (Countryman, I think), the first Dolby system. This "last" F & DeB album is closer to the first and Ian Guenther figures prominently at the start. Some amazing live tracks. Oh, did I mention it will be released as a vinyl double-album. Stay tuned. And there's still more material out there.
A couple of the tunes were part of Allan's set list when we did a Home Routes House Concert tour together out west last year. I remember attempting to sing appropriate harmonies...another ten days I would have had it! Nowadays you can hear Allan as part of Fraser & Girard.
And here's another link: George Koller's new album includes a song about Daisy, called "My Favourite Flower is a Daisy" which he co-wrote with Daisy's son Jake:
After a brutal winter in Toronto that sometimes reminiscent of my boyhood days in Sherbrooke, we finally welcome the first day of spring (if not the first Spring day.) My old high school pals started a facebook group and one of them sent me some pictures I hadn't seen since then. Check out Brian as teen-age bass player with attitude:
Have a great Easter,
your pal, BrianB aka Stringbuster, Colorblind Blain, Buddha of the Blues
Check out the new website, www.BrianBlain.com, a portal to everything Blain. My blog, torontobbluesdiary.com is linked, there's an EPK, a slideshow of pics, tips on blues shows in town and I've even put a widget that plays my favourite YouTube videos by other artists.
Not too many shows upcoming, but I do have a guest spot at a lovely poetry/music salon that has been going for many years. I was their featured musician a few months back and they've asked me to come and do a few tunes next Sat:
Saturday, April 4th, 2015
1:30 - 4:30 p.m.
Vino Rosso Bar & Restaurant
995 Bay St.
Featuring poets Norman Cristofoli, Ellen S. Jaffe, Norman Allan and more. The featured musician is Ann-Marie Boudreau, who I wasn't familiar with but I'm very anxious to hear - she's doing healing Soundwork and Spiritual Psychotherapy in her private practice and a multi-instrumentalist and improvisational vocalist performing on a wide range instruments including sitar and harp being unique to her repertoire. She's very much into "sounding" probabably along the lines of Brent Titcomb's "toning" - using sound vibrations to heal. I'm all for it and look forward to what this lady has to offer.
Sunday, April 21, 2015
The Lazy Cat Cafe
113 Sparkhall Ave. (at Logan)
It's in the Bain Co-op Community Centre, entrance off of Sparkhall Ave., steps west of Logan on south side. Small building with 50' smokestack. FREE parking on Bain, Logan and Sparkhall. Hosted by Linda Lavender and David Shilman.
Wednesday, July 29, 2015
2261 Dundas St W
Zoe Chilco CD Launch
I'll be playing a few tunes to kick things off.
Saturday, March 28, 2015
Not so strange, really, because it was all a very familiar setting - some kind of campus where there was a music festival/conference going on. I guess I had just played a set and was now wandering around leaving my guitar unattended. At a certain point I realize I better get back to my guitar but now I'm having trouble finding where I left it. I'm going in and out of different entrances and making my way down hallways until I finally find the stage set-up and my guitar case is there, but alas, the guitar is gone. This has a devastating effect on me because I just got it out of the shop at a cost of almost a thousand dollars. My stomach sinks so far that it wakes me up and it still took me a few minutes of semi-awake state before I realized that I still had my guitar and it was just a dream...make that a "nightmare"