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Hello Blainreaders - thanks for keeping tabs on me. I don't know about you but even though many out there are starting to get gigs and socialize I am still laying low and running on two cylinders. I'm glad I've got a few commitments (to myself, anyway) that give me an extra nudge now and then to get off my a**. Doing the Blainletter and the Blaincast are two of the few scheduled chores in my life these days.
It's been a tough couple of months for musicians and the most recent passing was Bill Bourne, a "national treasure" of a musician, admired by many and loved by all who were touched by his music. He had what every artist strives for - an immediately identifiable sound. Facebook has been blowing up with all kinds of stories of adventures with Bill.
Uli Bonnet was a fixture on the blues scene, playing bass for Johnny Max among many others. He was also an "associate" at Long & McQuade (if that's what they call them over there) and provided wise counsel to countless musicians who were in there buying gear. Much more than a "salesperson." He had the most welcoming smile every time I ran into him. And he was a groove-master on the bass. Always deep "in the pocket" and only interested in making everybody else sound great.
Bill Bourne was already a legend when I first met him, probably at a festival or a music conference. A colourful character and a master musician. I got to jam with him a couple of times but I wish I could have played a whole set with him – he was always involved in interesting, if unlikely, collaborations, but I dare say the unlikely collaborations can be the most creative. He famously had a duo with a bagpiper. Tri-Continental was his show with Lester Quitzau and my pal Madagascar Slim. Talk about unlikely collaborations! But they made it work. Bill had a solid groove, punctuated with a "stomp" board (a-la Stompin Tom) and he put on a great, hi-energy show. I think he's the first person I ever saw using such a contraption.
He always traveled in a motor home or tricked-out van and I had the honour of being invited on board a few times to partake of some herbal refreshment. I just posted this video as a tribute to him (I'm wearing his signature top hat!)
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Here's a tune to celebrate 4-20
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I have been following the adventures of an Indian sage called Sadhguru who is on a 100-day campaign to bring attention to the crisis that is happening under our feet. Soil needs 3-6% organic matter to be viable – otherwise it just turns to sand and thus begins the "desertification" of our planet. All he is asking is for everyone to talk about soil for the next couple of months while he travels from country to country meeting with Ministers of Agriculture and giving them his pitch. The science is quite undeniable. We can leave the coal in the ground to clean the air and slow down global warming, we can use technology to clean the water but if we aren't able to preserve (and improve) our precious soil, then that will be the end of (naturally) nutritious food. And as if famine is not enough of a crisis in itself, we can see the side effects of starvation - mass migration and wars.
And as I mentioned in the last Blainletter, I'm working on a new song that will be about soil and water. A work in progress. At the rate I'm going these days, it should be done by the time the planet is mostly dessert.
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Gigs are coming back but so far none for me so I'm trying to retain my guitar chops by playing along when I come upon a livestream with a band I can groove with. I feel like I should pay them for playing along (and sometimes I do).
Last week-end it was Jack de Keyzer live from the Ottawa area. I had a great time playing along but not so much with the Stevie Wonder or Marvin Gaye tunes. And that made me recall one time a few years back when I was "hooked-up" with Jack to play bass with him for a set at a festival. I came up to Jack before the set and said "I hope we can keep it to the basic blues – not too much Stevie Wonder or Marvin Gaye..."
He said, "well if you don't think you can cut it, tell me now," but I reassured him – and the bass playing was fine, though I play a little lighter than Al Duffy. But Jack, true gentleman that he is, went easy on me and left out some of the more complicated tunes. So this time I was paying attention when Jack played some of these non-blues tunes and sure enough, I was messing them up – even though I've heard them forever. One of them, I finally got the lick by the time the last chorus rolled around.
When I'm playing along with some musicians livestreaming like this, I can feel the other players like we were in the same room (albeit a very large room). It's not the same as playing along with a recording - I can feel the energy in real time. Maybe it's because I'm tuned in from the reiki training I have received and I'm a good receiver of energy (and a good sender too, I hope)
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My Best-Ex Linda had a very prolific time while she was staying in Toronto (do you recognize the guitar player in this montage?) She is planning a show this summer and has just published a book illustrated with her trademark stencils. Follow @lindadianasinger on Instagram to see what she's up to.
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See you out there (eventually)
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Thanks for reading this far. I see that the Blainletter gets opened by hundreds of people but not sure how many read through it. But I always seem to hear from someone or other that they enjoyed it and that's what keeps me going. Feel free to forward this to any friend you think might enjoy my occasional ramblings (and maybe my music, too). These bits and more are always available on my blog, www.torontobluesdiary.com.
See you out there, eventually...
BrianB, aka Butch, Nappy, Shaker, Two-Lane Blain, Colorblind Brian, Stringbuster, Buddha of the Blues
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