It’s the last day of the Toronto Jazz Festival and I am still left with making some a hard decisions. Guitar maniac Fred Frith is playing tonight at a non-festival event and a wild and crazy bunch of Yugoslavians called the "No Smoking Orchestra". Frith played a solo set in the festival a couple of nights ago but I opted for John Scofield’s Piety Street band and I’m glad I did. Scofield and vocalist/pianist Jon Cleary provided a blues/gospel show with all the soul you could ask for but at a level of musicianship and improvisation that is a few notches higher than most any blues band. When they tore into Ray Charles’ “Don’t Need No Doctor” (a tune I’ve been playing for years) it was fascinating to hear their take on it. Cleary even picked up a guitar for this one and went head to head with Sco in a burning guitar duel. Sco was playing a Fender Strat at the sound check but it was nowhere to be seen at the show – maybe it’s the same Strat that Cleary was playing but I don’t think it was the same colour. I came upon Sco chatting with Donna Grantis, guitarist for Shakura S’Aida who opened the show. I was flattered that he remembered me from previous years (I’ve lost count of how many appearances he’s made at the festival – in so many different incarnations). This time it was unapologetic blues and it would appear some of his fans have not exactly embraced the Piety Street project, live or on record. And meanwhile blues fans haven’t even heard it and would probably have the usual resistance to jazz guys playing blues. I only wish I could have rounded up a bunch of my blues musicians friends to hear that show. I even found myself walking around the site with an extra comp in my wallet looking for some deserving young blues player who would benefit from hearing Scofield close up but there was not one familiar blues face was on the square that night.
Anyway, Shakura and her band were pretty happy to be there. Guitarist Donna Grantis had dropped in to the after hours jam at the Hard Rock Café the previous evening and did a tune with the guest host, Montreal’s Vanessa Rodrigues on Hammond B3 and I noticed she brought only one effect pedal so I asked her what pedal she would bring if she could only have one and she said Ibanez Tube Screamer...hmm, maybe I’ll try one. I did get a chance to join the jam, though I avoid jazz jams like the plague but this time I had my guitar in the car and after much internal dialogue I convinced myself to take it into the club. Once in, I listened to the end of Tony Monaco’s set and he was on fire – he is a true B3 master, ending the set by having someone in the audience giving him a match book and he used the matches to jam between the keys and make a droning chord that was fatter than you could ever do with human hands, then he crawled down under the organ and began playing the pedals with his hands. Vanessa was not so theatric but she owns that instrument and she can groove. I was hoping to pull out one of my original tunes and see how she worked with it but that was not to be. They did, however, dumb things down for this old blues guy and called a couple of blues tunes...Chicken Shack and Georgia...tunes that most but not all blues players would be familiar with. I’m afraid I fit into the latter category, so I struggled a little bit trying to play the riff for Chicken Shack and trying to figure out the mystery chord in Georgia. It was not a stellar display but I got to play with Vanessa and I will again.
My only other “play” in the festival was with “my son the DJ” at a dance club on Queen Street. When we dropped off the gear in the afternoon the place looked like a construction site. They were actually pouring cement! Joel was promoting the night and spent more renting extra sub-woofers than he paid for talent. Then we set up our 3 laptops directly in front of the sub-woofers. It was brutal...and that’s just the way they like it in the dubstep world. I got some compliments on my guitar playing, but I was convinced once and for all that I am not cut out for playing guitar parts over a wall of sound. I think I need to establish the song first and then let it build up into a wall of mashed up sound.
Other highlights of the past ten days were hearing Allen Toussaint and meeting his guitarist Renard Poche. Toussaint played before Mavis Staples, but I wasn’t able to stay for the whole show because I had to head out to my BlainBLAIN gig. I hear Colin James made it down in time to sit it for the last tune (glad that worked out, albaby!) I did get a nice friendly greeting from Mavis as I stepped out of the Media trailer – I think maybe she thought I was the guy who signs the cheques... Boy she’s not very tall, but glowing with energy, and, contrary to some rumours I had heard, she was in great voice. As I sat with Raoul Bhaneja watching Toussaint Raoul spotted Mavis’ guitarist Rick Holmstrom, and invited him to join us. I had a nice chat with Rick, a very inventive blues guitarist who I have enjoyed for years.
Next day, Mike Stern was holding court in an intimate club setting, the Hard Rock Café. I told Mike about arriving at his gig at last year’s festival just as he was striking the last chord of his encore. I told him I had felt the energy he had infused into the room without hearing the music. This time I heard a whole set and fully intended to get back for the second set after catching a bit of Stanley Clarke on the main stage. Well, as it turned out, you can’t just “catch a bit” of Stanley Clarke. I was riveted by the intense chemistry between Clarke and Japanese piano star Hiromi. They traded riffs rising higher and higher in intensity with Hiromi standing at the piano slamming down huge chords as Clarke moved closer and closer ripping at his electric bass. Even though the show was delayed and was running late, the audience would absolutely not leave until they heard more. The bass had been removed, roadies were already dismantling the stage and the house lights were up, when this amazing quartet returned to the stage for a rousing encore. Nobody wanted it to end.
I also got to meet Maceo Parker’s guitarist, Bruno Geist, who gave me some tips for getting that funky, choppy guitar sound (“it’s all in the upstroke”). One of the tough calls I had to make midweek was between Angelique Kidjo and Coco Montoya. I opted for Coco, even though I’ve seen him many times, going back to when he was playing with John Mayall. He was in great form. I don’t think I’ve ever seen a packed Silver Dollar Room made quiet enough to hear the proverbial pin drop by Coco did it. Meanwhile I hear that Angelique gave an amazing show – it was the only festival show that mattered to some fans, including radio host Jian Ghomeshi who sent glowing tweets.
The Taj Mahal/James Hunter show went on without a hitch despite the second round of G-20 protesters. This time they marched across the Square but did not make any trouble. The worst thing that happened was that Taj’s guitars (and luggage) never made it to Toronto but I don’t think we can blame the G-20 for that. He played a pretty straightforward blues set on his rented Gibson ES-335 with a simple back-up of bass and drums, and they played very sparse. James Hunter is my man – I love what he’s doing and I think I have seen him pretty well every time he's played Toronto (3 plays for the Jazz Festival). Every show he delivers (even once when he was deathly ill) is impeccable. And a very sharp looking band, too. I complimented James on his suit and he opened the jacket to reveal the label "The Traveller" and I took that to mean it's one of those suits you can crumple up into a suitcase and it still looks good when you get on stage. When I had a chance to talk to Damien, his tenor guy, I couldn't resist asking who did the horn arrangements and he told me it was mostly James himself who designed the horn charts. I love that tenor/bari combo!
It felt a bit like a war zone just driving down to Nathan Phillips Square. I gassed up at at a gas station there were several nondescript Suburban SUVs and a large contingent of police donning their flak vests and riot gear. Driving downtown, it seemed like every second car on the road was police or mysterious looking SUV.
And now I’ve spent so much time writing this blog that It’s too late for Fred Frirth. I checked him out on You Tube and feel that I have experienced his “prepared” guitar thang sufficiently. Now I’ll head down to the Sound Academy to hear the No Smoking Orchestra...wait a minute let’s check them out on YouTube. Hmmm, what a wild and crazy bunch of Yugoslavians. Two guys hold up a 20-ft makeshift bow while the violinist slides his fiddle on it. Then the guitarist gets into the action. Maybe I don’t need to see this in person. Makes you wonder about the promotional benefits of YouTube. Please take a few minutes to watch the set I just loaded up...then you wan’t have to come see me live. Ah, but those tunes are all from previous albums...it’s my Eastern Townships medley!
Sunday, July 4, 2010
Saturday, June 26, 2010
Jazz Festival - Day One
As I made my way to Nathan Phillips Square at 9 am, it was like driving into a ghost town (not that I ever find myself driving downtown at 9 am but I know that it’s usually much more congested than this). But thanks to the dire warnings of G20 protests (peaceful and otherwise) most people stayed home. The square was very quiet as I scrambled from one trailer to another installing phones, modems and wireless routers. Every year Bell sends two guys – one to lay the cables and another to configure the high speed modems. This year, however, they deemed to send only one guy and he had his hands full because the locations of the trailers were all changed because they’re remodeling Nathan Phillips Square, so new lines had to be laid down under the massive concrete tiles that can only be moved by a fork-lift. When I asked if one could be left open in case our guy needed to go back to the junction box, I was told that they were worried that some G20 terrorist would crawl under there with a bomb.
Anyway, that whole G20 kerfuffle made for a smaller crowd for Alex Pangman, who played a 5 o’clock show with some great players including a couple of friends, Terry Wilkins and Jesse Barksdale. I don’t think I ever saw Jesse playing a “flat-top” guitar (as opposed to the vintage style archtops he usually plays) and even the headliner, Maceo Parker, whose fans would have fought their way through a police barricade to hear him, had a smaller audience for sure. And what a demographic he has – his appeal stretches from the young funk fanatics, who probably listen to rap and reggae the rest of the time, and old folks like me who grew up with James Brown.
And I have to say this was just about as exciting as seeing a James Brown show in the 60s. I remember watching the James Brown Band (minus James and Maceo) rehearsing for a Blues Brothers movie shoot in Toronto a few years back. James wasn’t there but each song was performed, with all James’ signature moves, by a different member of the band, or roadie, or someone who was part of the entourage. They went through the entire show without James but it ran like a finely tuned machine. I never saw James when Maceo was in the band. Maceo has been well brought up. His show builds and builds then drops down with a whack on the snare drum (Michelle refers to this as an “Apollo”).
You got the feeling he would play all night if they let him. A couple of times he just started singing some silly Streisand song (unaccompanied) for a few bars then boom, then the whole band would kick into another funk number. Take me to the bridge! Maceo was so generous with his band members – everybody got a feature spot (or two) and they all shone spectacularly – I guess that’s why he gives them the air time. And he repeatledly acknowledged his band and all the sound crew and stage hands as well as his English-accent lady manager who was omnipresent off (and sometimes on) the stage.
I got to chat a bit with his long-time guitarist, Bruno Speight, who gave me some tips on playing that choppy funk guitar (it’s all in the upstroke). He also recommended I check out a gospel singer called Kim Burrell who he thought I would enjoy. He is based in Atlanta and I guess she is too.
Two other shows going on at the same time were young Nikki Yanovsky and still pretty young Martha Wainright. Both had sold out shows. Lori Nuic, who opened for Maceo is also a talented up and comer. She was playing some wicked slide guitar during the sound check but what I heard of her set was sans slide...in fact she never picked up the guitar for the part I heard. Several people commented what a strong show she had – I look forward to seeing her play a whole evening sometime. One of my Campfire regulars has been working with her and said he would bring her down to Highway 61 one of these Tuesdays.
Anyway, that whole G20 kerfuffle made for a smaller crowd for Alex Pangman, who played a 5 o’clock show with some great players including a couple of friends, Terry Wilkins and Jesse Barksdale. I don’t think I ever saw Jesse playing a “flat-top” guitar (as opposed to the vintage style archtops he usually plays) and even the headliner, Maceo Parker, whose fans would have fought their way through a police barricade to hear him, had a smaller audience for sure. And what a demographic he has – his appeal stretches from the young funk fanatics, who probably listen to rap and reggae the rest of the time, and old folks like me who grew up with James Brown.
And I have to say this was just about as exciting as seeing a James Brown show in the 60s. I remember watching the James Brown Band (minus James and Maceo) rehearsing for a Blues Brothers movie shoot in Toronto a few years back. James wasn’t there but each song was performed, with all James’ signature moves, by a different member of the band, or roadie, or someone who was part of the entourage. They went through the entire show without James but it ran like a finely tuned machine. I never saw James when Maceo was in the band. Maceo has been well brought up. His show builds and builds then drops down with a whack on the snare drum (Michelle refers to this as an “Apollo”).
You got the feeling he would play all night if they let him. A couple of times he just started singing some silly Streisand song (unaccompanied) for a few bars then boom, then the whole band would kick into another funk number. Take me to the bridge! Maceo was so generous with his band members – everybody got a feature spot (or two) and they all shone spectacularly – I guess that’s why he gives them the air time. And he repeatledly acknowledged his band and all the sound crew and stage hands as well as his English-accent lady manager who was omnipresent off (and sometimes on) the stage.
I got to chat a bit with his long-time guitarist, Bruno Speight, who gave me some tips on playing that choppy funk guitar (it’s all in the upstroke). He also recommended I check out a gospel singer called Kim Burrell who he thought I would enjoy. He is based in Atlanta and I guess she is too.
Two other shows going on at the same time were young Nikki Yanovsky and still pretty young Martha Wainright. Both had sold out shows. Lori Nuic, who opened for Maceo is also a talented up and comer. She was playing some wicked slide guitar during the sound check but what I heard of her set was sans slide...in fact she never picked up the guitar for the part I heard. Several people commented what a strong show she had – I look forward to seeing her play a whole evening sometime. One of my Campfire regulars has been working with her and said he would bring her down to Highway 61 one of these Tuesdays.
Thursday, June 24, 2010
What did I do to deserve all this
This week kicked off with the Summer solstice and me stepping out into a new room at the back of my house and stepping into a new Volvo (new to me, anyway). The car is a replacement for the Buick you saw trashed in my last Blainletter. Man, it's nice to be behind the wheel of a tight-handling european car. This all happened so fast that I never even bothered to look under the hood. I told my Volvo guy that it was not the car I was buying but rather a continued good relationship with him! For years he's been keeping this old blues musician on the road and yesterday I joked that he was doing his part spreading the music
Sunday, June 6, 2010
Blainletter # 29 June 6, 2010
In This Issue:
• Upcoming Gigs
• Accidents, Thefts, Allergies, what next
• Campfire adventures
• Recording update
• Festival fun
• BLAINBLAIN rides again
• Out and about
I am posting this dispatch from the wilds of Orangeville, looking out into a cedar forest and breathing that fine country air. I’m here for the Orangeville Blues and Jazz Festival, played last night in a fabulous Italian restaurant, and again…
TONIGHT (Sat) 6 to 9pm Il Corso - 20 Dawson Rd, Orangeville
Sunday at 2 pm I’m in Shelburne at the Grace Tipling Hall, 203 Main St. E. ( also part of Orangeville Blues & Jazz fest – more below)
Sat June 26 6pm (mainstage) – The City Roots Festival, Distillery District, Toronto
Wed June 30 10pm The Social – BLAINblain rides again! Blues infused beats and electronica. …yes, something completely different. (part of the Toronto Jazz Festival)
And still going strong…
EVERY TUESDAY 7-10pm Colorblind Blain’s Blues Campfire at Highway 61, 1620 Bayview (all musicians welcome and the best ribs in town)
The event in Shelburne is called One County, One Book where everyone in the county of Dufferin was invited to read the same book and now there will be a reading by the author. I’ve been invited to play a few songs about the Eastern Townships because the author is Louise Penny, who lives in Sutton, Quebec – my old stompin’ grounds. I just realized last night that I have a great song with a little bit of Eastern Townships lore, the Outlaw of Megantic. I haven’t performed it in years because I could never remember the words – there’s a lot of them. But I realized this is the perfect song for this event so I must remember it. I hoped I might have the lyrics on my laptop but no luck. Then I was starting to think who in Orangeville might have my first album. Not the folks I’m staying with. Anyway, the human brain, even a under-used one like mine, is a wonderful thing and most of the lyrics have come back to me over the last twenty-four hours. I was even dreaming about this song! I’ve been reading Louise Penny’s book though I doubt I’ll be done in time for the show. Hope no-one reveals the ending (it is a mystery- set in the Townships, of course) Call 519-925-2600 for reservations.
Accidents, Thefts, Allergies, what next?
Here’s a picture of the Buick “sandwich” on the Gardiner expressway on Monday afternoon. I was returning from a judging session at the Niagara Music Awards (man, there’s a lot of talent out that way) when I got rear ended by one of those trucks that picks up containers at construction sites. Sure am glad I didn’t have the guitar in the trunk. Then again, I’d rather be playing one of those award galas than being a damn judge.
As previously reported on my blog, my portrait at the Silver Dollar Room was stolen (right off the damn wall). Gary Kendall tells me I have now joined the select group including Donnie Walsh whose portraits were deemed worthy of being stolen. The bummer for me is that we were never able to find the negative for that shot – one of my favourites (and obviously someone else’s…) and I don’t even have a decent print that I can scan for a hi-res shot that can be used for print. It’s still fine for web, and you’ll see an interesting animated version on myspace/brianblain. But we all know the importance of having a hi-res! Keep an eye out for that picture – there will be a reward…how about a Brian Blain CD? How about two?
Campfire adventures
We’re still doing it every Tuesday at Highway 61 – it’ll be a year in July and I’ve only missed one Tuesday, though this Tuesday I was playing with a pretty sore neck. I love it when we can re-ignite the spark of music in someone and this time it was a fella that had not played in 37 years but some of the campfire buddies convinced him to get up and play the bass for a tune and he got through it OK. On his way out he said he was going to get his old guitar out of the case – I think he said it was a Larivee - and that he’d be back. I hope so. There was also another guitar prodigy, 11 years old, who ripped off some solid solos but was having trouble following along the chord changes. He told me afterwards he doesn’t play the “B” chord. I told him if he was going to be playing in “E”, he better learn “B”!
We had a campfire at the Gladstone Hotel last Friday as part of the Toronto Blues Society’s 25th Anniversary Celebration. There was lots going on and the campfire room was tucked away so we didn’t get a lot of traffic but had a great time with Bird Stafford, Robin Banks, Son Roberts, Norm Robinson and Mr. Rick. There was also a mystery female vocalist (best kept a mystery) who joined us at the end. At that point, she actually turned off all the lights in the room and we really had a campfire vibe going – playing in the glow of my ersatz campfire (note to self: get replacement lightbulb).
One of the highlights of the Gladstone was an Iranian (excuse me, Persian) guy who I engaged in conversation because he had a hat that said “Piedmont Blues.” We talked a bit but before I could tell him I played blues myself, he said “I know who you are and I’ve got your CD and I love that song “Blues is Hurting”… Well, make my day! Well speaking of anniversaries, it must be damn near 50 years since I got my first guitar. I think it was the summer of grade 8 – I worked as a soda jerk and saved up $35. To buy a guitar from a friend. Next day I was in a band but what they needed was a bass player, so I just took 2 strings off the guitar and played it like a bass – with Band-aids on my finger tips to keep them from bleeding. It occurs to me that over those fifty years I probably still haven’t accumulated 10,000 hours (as they say) because I’ve always done other stuff besides playing but there’s a certain “naturalness” that develops when you learn an instrument slowly and I’m thinking about what Terry was saying last night – how what he noticed playing with lots of the older blues artists (and he’s played with some greats) that the one thing they had in common was they never played anything more than what was necessary for the moment. Sometimes it might be flashy and sometimes very simple but it was always what the song needed.
Oh, about that recording…
I think I announced we were going into the studio in my last blast, but I pulled the plug at the last moment because I was not feeling ready. And I don’t think the songs were ready, since they’re still coming out different every time I play them. I won’t wait much longer. Missed the deadlines for the recording grants, but they usually go to folks whose career is mostly ahead of them, not old guys like me. Still, it's going to be 5 years and I've been feeling the pressure. A recording fund is in place, thanks to a couple of generous benefactors... you can deposit directly into account 00646842698006400101 at Alterna Savings and Credit Union, Danforth Avenue. (or talk to me).
I've got a new batch of songs - well not so new anymore - and the good news is that I've been out there playing them for different audiences and with different accompaniment. I had pretty well decided to make an acoustic album and I had talked about it with some of the top bluegrass players in town, but then I did an abrupt turn and decided to make it a band album and now I'm right back where I started, except in the process I've come out with new (bluesy) arrangements for some of the more folky tunes. I'm now back to recording alone at home and fine-tuning some of those songs. I guess it can't hurt. Stay tuned.
Festival Fun
As ever I will be putting on my “I.T.” hat to manage the on-site communications needs of the Toronto Jazz Festival and as if having the G20 and all its attendant security in our face, the west side of Nathan Phillips Square is going to be torn up and that is where we usually plug in all the phone & power…oh boy! Sorry to say I won’t be playing Toronto Jazz…not true actually, my son the DJ has asked me to do an opening set at his night at The Social on June 30th – guess I’m going to miss Mavis Staples. Damn! Once again I will strap on the MIDI gear to my Stratocaster and bring out the laptop, which will be synced with one or more other laptops and we will bring you a set of…whatever happens. BLAINblain rides AGAIN (indeed)
That first week-end of the festival (with all the G20 activity going on) I have to extricate myself on the 26th to do a set at the City Roots Festival at the Distillery District. It’s at 6 pm on the Mainstage.
Out and About
We’re halfway through the Orangeville Blues & Jazz Festival and saw a couple of bands on the street and got to hear Brenda Lewis and Margaret Stowe. I picked up their new CD – hot off the press, she wrote that I was the first purchaser. I’ll have to start a shelf of “first purchases” on my CD wall – this one will join the wonderful Brenna McCrimmon. Then I took a quick stroll to view a collection of almost 300 classic cars and hot-rods lined up along the street. Here’s one that caught my eye:
I couldn’t hang around very long because I had to go play at the Italian restaurant – it’s run by a colorful character who’s an ex boxer and a fabulous cook. Great food and hospitality at this gig, at the home where I’m billeted and throughout the whole town. One lady from a venue I played a few years back recognized me and said hello. A few other folks remembered me from gigs in this area.
After my gig I went downtown and I got to see Larry Kurtz playing with the great W.C. Clark on their outdoor stage. It had been raining earlier so they lost a lot of their crowd but it’s a great setting and I hope they will be able to have that second stage again next year. I also saw a bit of Sam Turton who has sat around the Campfire with me a couple of times and was really digging in with the slide then I saw Raoul and the Big Time and they were rocking the house. Raoul brings a little something extra to the table, maybe it’s because of his acting side but there’s no “shtick” – he just loves this music and you can tell. Terry Wilkins is one of those bass players that play so organically that they couldn’t hit a wrong note if they tried and watching Tom Bona close up in a more intimate setting really gave me a new appreciation of his special touch. Darren on guitar is as official as it gets. I was asking him if he was the guitarist I helped out many years ago backstage at a festival when he had slammed his hand with a car door just before he was to play. I did a little emergency Reiki on him and apparently it worked. Indeed it was Darren, and when Terry heard this, he wanted a little reiki on his plucking finger (which hardly gets a day off) and I gave him a little session. I’m just out there doing the good work – trying to help people feel better any way I can…
I thought I was finally going to get to sit back and hear the elusive Bharath and the Rhythm Four from Montreal but everything conspired against it. Costa, the bass player had a dislocated should, the venue was packed to capacity with young people who just came to party and showed very little appreciation for this first-class outfit. Bhrath gave his bass player a break, picked up the guitar and invited a couple of local harp players, Doctor Nick and Shrimpdaddy, to play out the set. I don’t blame him but I just wish I’d heard him play more – and what a great voice. I liked his guitar playing, too, And then I end up leaving behind the CD that Costa gave me. I saw him the next day but I didn’t have the nerve to ask for another one. I’m going to buy the damn thang. I want to hear it!
I also got to hesr Heather Katz for the first time – and that was totally not what I expected. She laid down some official blues, with the amazing Kevin Breit guesting and even playing a little guitar “a la Memphis Minnie”.
After three nights at the Italian Restaurant, it was a real change of pace to be playing the Grace Tiplig Hall in Shelburne - an old-world concert hall with great acoustics and a completely attentive and enthusiastic audience who were there to hear Canadian mystery writer Louise Penny whose novels are situated in the Eastern Townships and who lives in Sutton. It seemed like a good fit so I was booked to perform a warm-up set and I did an entire set of tunes about my life in the Townships. It went over great. I’m going to try to post a video but meanwhile, here’s me and Louise Penny. And I wish I could remember exactly what she said about me but she did use the word “brilliant.” I have to say she used it again several times in her speech but that did not diminish the compliment. She was pretty funny and natural, but I guess that’s what you get after 20 years on the CBC. She’s retired now and at work on her seventh novel. Here we are together:
Last week I went to a “Sistering”event at the Jane Mallett Theatre – mostly because I had a few band-mates playing. Regretfully, Colleen Allen couldn’t make the gig due to illness but it was still a phenomenal show. MC was the bubbly Elvira Curt who I listen to all the time on CBC Radio. She’s pretty funny and get get a little lewd, but nothing compared to the next female stand-up comic who was positively outrageous. But the audience of well(high)heeled overachiever women executives was loving it. Evelyn Datl asked me to shoot some video – some of it may end up on you tube. I really wanted to get a shot of Donna Grantis stiletto-heeled foot pumping a CryBaby wah-wah pedal…and her radical new haircut.
Thanks for reading. If you've enjoyed this Blainletter and you're not a subscriber, go to http://brianblain.fanbridge.com to sign up and get one every month or so.
And if you "like" what I'm doing and you’re on Facebook, please click over to http://www.facebook.com/pages/Brian-Blain/70605028420 and make it official.
And now you can follow me on Twitter.com/brianblain
Thanks for your support, BrianB, aka Colorblind Brian, the Stringbuster
www.brianblain.ca
• Upcoming Gigs
• Accidents, Thefts, Allergies, what next
• Campfire adventures
• Recording update
• Festival fun
• BLAINBLAIN rides again
• Out and about
I am posting this dispatch from the wilds of Orangeville, looking out into a cedar forest and breathing that fine country air. I’m here for the Orangeville Blues and Jazz Festival, played last night in a fabulous Italian restaurant, and again…
TONIGHT (Sat) 6 to 9pm Il Corso - 20 Dawson Rd, Orangeville
Sunday at 2 pm I’m in Shelburne at the Grace Tipling Hall, 203 Main St. E. ( also part of Orangeville Blues & Jazz fest – more below)
Sat June 26 6pm (mainstage) – The City Roots Festival, Distillery District, Toronto
Wed June 30 10pm The Social – BLAINblain rides again! Blues infused beats and electronica. …yes, something completely different. (part of the Toronto Jazz Festival)
And still going strong…
EVERY TUESDAY 7-10pm Colorblind Blain’s Blues Campfire at Highway 61, 1620 Bayview (all musicians welcome and the best ribs in town)
The event in Shelburne is called One County, One Book where everyone in the county of Dufferin was invited to read the same book and now there will be a reading by the author. I’ve been invited to play a few songs about the Eastern Townships because the author is Louise Penny, who lives in Sutton, Quebec – my old stompin’ grounds. I just realized last night that I have a great song with a little bit of Eastern Townships lore, the Outlaw of Megantic. I haven’t performed it in years because I could never remember the words – there’s a lot of them. But I realized this is the perfect song for this event so I must remember it. I hoped I might have the lyrics on my laptop but no luck. Then I was starting to think who in Orangeville might have my first album. Not the folks I’m staying with. Anyway, the human brain, even a under-used one like mine, is a wonderful thing and most of the lyrics have come back to me over the last twenty-four hours. I was even dreaming about this song! I’ve been reading Louise Penny’s book though I doubt I’ll be done in time for the show. Hope no-one reveals the ending (it is a mystery- set in the Townships, of course) Call 519-925-2600 for reservations.
Accidents, Thefts, Allergies, what next?
Here’s a picture of the Buick “sandwich” on the Gardiner expressway on Monday afternoon. I was returning from a judging session at the Niagara Music Awards (man, there’s a lot of talent out that way) when I got rear ended by one of those trucks that picks up containers at construction sites. Sure am glad I didn’t have the guitar in the trunk. Then again, I’d rather be playing one of those award galas than being a damn judge.
As previously reported on my blog, my portrait at the Silver Dollar Room was stolen (right off the damn wall). Gary Kendall tells me I have now joined the select group including Donnie Walsh whose portraits were deemed worthy of being stolen. The bummer for me is that we were never able to find the negative for that shot – one of my favourites (and obviously someone else’s…) and I don’t even have a decent print that I can scan for a hi-res shot that can be used for print. It’s still fine for web, and you’ll see an interesting animated version on myspace/brianblain. But we all know the importance of having a hi-res! Keep an eye out for that picture – there will be a reward…how about a Brian Blain CD? How about two?
Campfire adventures
We’re still doing it every Tuesday at Highway 61 – it’ll be a year in July and I’ve only missed one Tuesday, though this Tuesday I was playing with a pretty sore neck. I love it when we can re-ignite the spark of music in someone and this time it was a fella that had not played in 37 years but some of the campfire buddies convinced him to get up and play the bass for a tune and he got through it OK. On his way out he said he was going to get his old guitar out of the case – I think he said it was a Larivee - and that he’d be back. I hope so. There was also another guitar prodigy, 11 years old, who ripped off some solid solos but was having trouble following along the chord changes. He told me afterwards he doesn’t play the “B” chord. I told him if he was going to be playing in “E”, he better learn “B”!
We had a campfire at the Gladstone Hotel last Friday as part of the Toronto Blues Society’s 25th Anniversary Celebration. There was lots going on and the campfire room was tucked away so we didn’t get a lot of traffic but had a great time with Bird Stafford, Robin Banks, Son Roberts, Norm Robinson and Mr. Rick. There was also a mystery female vocalist (best kept a mystery) who joined us at the end. At that point, she actually turned off all the lights in the room and we really had a campfire vibe going – playing in the glow of my ersatz campfire (note to self: get replacement lightbulb).
One of the highlights of the Gladstone was an Iranian (excuse me, Persian) guy who I engaged in conversation because he had a hat that said “Piedmont Blues.” We talked a bit but before I could tell him I played blues myself, he said “I know who you are and I’ve got your CD and I love that song “Blues is Hurting”… Well, make my day! Well speaking of anniversaries, it must be damn near 50 years since I got my first guitar. I think it was the summer of grade 8 – I worked as a soda jerk and saved up $35. To buy a guitar from a friend. Next day I was in a band but what they needed was a bass player, so I just took 2 strings off the guitar and played it like a bass – with Band-aids on my finger tips to keep them from bleeding. It occurs to me that over those fifty years I probably still haven’t accumulated 10,000 hours (as they say) because I’ve always done other stuff besides playing but there’s a certain “naturalness” that develops when you learn an instrument slowly and I’m thinking about what Terry was saying last night – how what he noticed playing with lots of the older blues artists (and he’s played with some greats) that the one thing they had in common was they never played anything more than what was necessary for the moment. Sometimes it might be flashy and sometimes very simple but it was always what the song needed.
Oh, about that recording…
I think I announced we were going into the studio in my last blast, but I pulled the plug at the last moment because I was not feeling ready. And I don’t think the songs were ready, since they’re still coming out different every time I play them. I won’t wait much longer. Missed the deadlines for the recording grants, but they usually go to folks whose career is mostly ahead of them, not old guys like me. Still, it's going to be 5 years and I've been feeling the pressure. A recording fund is in place, thanks to a couple of generous benefactors... you can deposit directly into account 00646842698006400101 at Alterna Savings and Credit Union, Danforth Avenue. (or talk to me).
I've got a new batch of songs - well not so new anymore - and the good news is that I've been out there playing them for different audiences and with different accompaniment. I had pretty well decided to make an acoustic album and I had talked about it with some of the top bluegrass players in town, but then I did an abrupt turn and decided to make it a band album and now I'm right back where I started, except in the process I've come out with new (bluesy) arrangements for some of the more folky tunes. I'm now back to recording alone at home and fine-tuning some of those songs. I guess it can't hurt. Stay tuned.
Festival Fun
As ever I will be putting on my “I.T.” hat to manage the on-site communications needs of the Toronto Jazz Festival and as if having the G20 and all its attendant security in our face, the west side of Nathan Phillips Square is going to be torn up and that is where we usually plug in all the phone & power…oh boy! Sorry to say I won’t be playing Toronto Jazz…not true actually, my son the DJ has asked me to do an opening set at his night at The Social on June 30th – guess I’m going to miss Mavis Staples. Damn! Once again I will strap on the MIDI gear to my Stratocaster and bring out the laptop, which will be synced with one or more other laptops and we will bring you a set of…whatever happens. BLAINblain rides AGAIN (indeed)
That first week-end of the festival (with all the G20 activity going on) I have to extricate myself on the 26th to do a set at the City Roots Festival at the Distillery District. It’s at 6 pm on the Mainstage.
Out and About
We’re halfway through the Orangeville Blues & Jazz Festival and saw a couple of bands on the street and got to hear Brenda Lewis and Margaret Stowe. I picked up their new CD – hot off the press, she wrote that I was the first purchaser. I’ll have to start a shelf of “first purchases” on my CD wall – this one will join the wonderful Brenna McCrimmon. Then I took a quick stroll to view a collection of almost 300 classic cars and hot-rods lined up along the street. Here’s one that caught my eye:
I couldn’t hang around very long because I had to go play at the Italian restaurant – it’s run by a colorful character who’s an ex boxer and a fabulous cook. Great food and hospitality at this gig, at the home where I’m billeted and throughout the whole town. One lady from a venue I played a few years back recognized me and said hello. A few other folks remembered me from gigs in this area.
After my gig I went downtown and I got to see Larry Kurtz playing with the great W.C. Clark on their outdoor stage. It had been raining earlier so they lost a lot of their crowd but it’s a great setting and I hope they will be able to have that second stage again next year. I also saw a bit of Sam Turton who has sat around the Campfire with me a couple of times and was really digging in with the slide then I saw Raoul and the Big Time and they were rocking the house. Raoul brings a little something extra to the table, maybe it’s because of his acting side but there’s no “shtick” – he just loves this music and you can tell. Terry Wilkins is one of those bass players that play so organically that they couldn’t hit a wrong note if they tried and watching Tom Bona close up in a more intimate setting really gave me a new appreciation of his special touch. Darren on guitar is as official as it gets. I was asking him if he was the guitarist I helped out many years ago backstage at a festival when he had slammed his hand with a car door just before he was to play. I did a little emergency Reiki on him and apparently it worked. Indeed it was Darren, and when Terry heard this, he wanted a little reiki on his plucking finger (which hardly gets a day off) and I gave him a little session. I’m just out there doing the good work – trying to help people feel better any way I can…
I thought I was finally going to get to sit back and hear the elusive Bharath and the Rhythm Four from Montreal but everything conspired against it. Costa, the bass player had a dislocated should, the venue was packed to capacity with young people who just came to party and showed very little appreciation for this first-class outfit. Bhrath gave his bass player a break, picked up the guitar and invited a couple of local harp players, Doctor Nick and Shrimpdaddy, to play out the set. I don’t blame him but I just wish I’d heard him play more – and what a great voice. I liked his guitar playing, too, And then I end up leaving behind the CD that Costa gave me. I saw him the next day but I didn’t have the nerve to ask for another one. I’m going to buy the damn thang. I want to hear it!
I also got to hesr Heather Katz for the first time – and that was totally not what I expected. She laid down some official blues, with the amazing Kevin Breit guesting and even playing a little guitar “a la Memphis Minnie”.
After three nights at the Italian Restaurant, it was a real change of pace to be playing the Grace Tiplig Hall in Shelburne - an old-world concert hall with great acoustics and a completely attentive and enthusiastic audience who were there to hear Canadian mystery writer Louise Penny whose novels are situated in the Eastern Townships and who lives in Sutton. It seemed like a good fit so I was booked to perform a warm-up set and I did an entire set of tunes about my life in the Townships. It went over great. I’m going to try to post a video but meanwhile, here’s me and Louise Penny. And I wish I could remember exactly what she said about me but she did use the word “brilliant.” I have to say she used it again several times in her speech but that did not diminish the compliment. She was pretty funny and natural, but I guess that’s what you get after 20 years on the CBC. She’s retired now and at work on her seventh novel. Here we are together:
Last week I went to a “Sistering”event at the Jane Mallett Theatre – mostly because I had a few band-mates playing. Regretfully, Colleen Allen couldn’t make the gig due to illness but it was still a phenomenal show. MC was the bubbly Elvira Curt who I listen to all the time on CBC Radio. She’s pretty funny and get get a little lewd, but nothing compared to the next female stand-up comic who was positively outrageous. But the audience of well(high)heeled overachiever women executives was loving it. Evelyn Datl asked me to shoot some video – some of it may end up on you tube. I really wanted to get a shot of Donna Grantis stiletto-heeled foot pumping a CryBaby wah-wah pedal…and her radical new haircut.
Thanks for reading. If you've enjoyed this Blainletter and you're not a subscriber, go to http://brianblain.fanbridge.com to sign up and get one every month or so.
And if you "like" what I'm doing and you’re on Facebook, please click over to http://www.facebook.com/pages/Brian-Blain/70605028420 and make it official.
And now you can follow me on Twitter.com/brianblain
Thanks for your support, BrianB, aka Colorblind Brian, the Stringbuster
www.brianblain.ca
Saturday, May 22, 2010
When's that guy gonna make another record?
I get asked that once in a while - less often than "we still play your album" (or some variation thereof) but it's going to be 5 years and I've been feeling the pressure. A recording fund is in place, thanks to a couple of generous benefactors, and I've downloaded some grant applications...we'll see what happens with that! I've got a new batch of songs - well not that new anymore - and the good news is that I've been out there playing them for different audiences and with different accompaniment. I had pretty well decided to make an acoustic album and I had talked about it with some of the top bluegrass players in town, but then I did an abrupt turn and decided to make it a band album with Michelle on drums and feature the wonderful horn players Carrie Chesnutt and Colleen Allen. I had a vision of going in and recording live with the horns but then there were a lot of practical considerations, mostly that we haven't been practicing the songs with horns, there's no arrangements or charts. So then we were going to overdub the horns, and then we even talked about doing the bass after and that's when I realized that this is no way to make a blues record so I pulled the plug (at some great inconvenience to myself and others). So now I'm right back where I started, except in the process I've come out with new (bluesy) arrangements for some of the more folky tunes. I'm now back to recording alone at home and fine-tuning some of those songs. I guess it can't hurt. Stay tuned.
Thursday, May 20, 2010
Brian Blain Missing
Everytime I walk into the Silver Dollar Room, the first thing I see is this picture of myself hanging in its long-standing place of honour at the end of the bar. Until last night, that is. I dropped by the Silver Dollar to hear the bluegrass guys and noticed that my portrait was missing from its spot. It wasn't replaced with anything else - there's just a big blank space where it used to be...Wot happened? They're looking into it at the Silver Dollar. Gary Kendall thinks it might have been stolen right off the wall, as were portraits of him and Donnie Walsh a while back. This feels a bit like the time I discovered a web site that was "sharing" my music for free. Part of me was kinda happy that someone out there thought it was worth stealing. Nowadays there's a lot of music you can't GIVE away...
Monday, May 10, 2010
Blainletter #28 May 10, 2010
Tomorrow’s Campfire at Highway 61 (maybe today’s by the time you read this) is my “Motherless Day” Special with the inimitable Carrie Chesnut as special guest and who knows who else will show up. That 7-10 pm at 1620 Bayview. Every year on Mother’s Day week-end, or close to it, I like to have a special show for folks who no longer have their mother, like myself or orphans who never knew their biological mother (also like myself). Some of you may be acquainted with my tune “Enfant Choisi” which is about my adoption by the dear lady you see pictured with me in a 70s promo shot.
It’s also the only show of the year where you’ll hear me sing my “cult classic,” “Don’t Forget Your Mother”. You can hear it here: mother.mp3. We recorded three sides at those sessions in 1973 and the two othere were released on Good Noise Records, but “Don’t Forget Your Mother” was never released (for a variety of reasons). But it was a bit of an underground favourite in Montreal in the early 70s. Everybody remembered that tune and just a few years back I ran into one of the guys who played on the session, Tom “Bones” Malone, who was in Toronto filming a Blues Brothers. I was just starting to ask him if he remembered that session and he began singing the chorus. Wow! After all those years. The drummer for the session was Jim Gordon, a first-call studio drummer in Los Angeles who had just finished touring and recording with Derek and The Dominoes. He wrote (and played) the piano part in “Layla”. He was later institutionalized for killing his mother in a schitzophrenic episode but that’s another (hopefully unrelated) story.
The Campfire was amazing last week. I love it when I get people to perform who have hardly ever (or never) done it. I remember when Tony Burns got up and did a couple of Delta Blues and when I commented later that I bet he didn’t do that too often he said he’s never done it (and probably never would again, but we’re working on that). This night, Willy “A”, long standing Blues radio host on CKWR in Kitchener was in the house and when I asked innocently if he or his buddy played they had a good laugh but after the night was underway Willy said maybe he would get up and sing “Stormy Monday”. Well he nailed it, putting on a real show for the folks – at one point he was even down on one knee – and later when he was leaving the club one rowdy table would not let him leave until he performed another tune – which he did!
There will also be a special Campfire at the Toronto Blues Society’s 25th Anniversary bash at the Gladstone Hotel on Friday, May 28. I’ll be lighting up the campfire in the Art Bar starting around 7pm. Harrison Kennedy is performing in the front Room and Shakura S’Aida and Fathead are featured in the Ballroom. It will be a grand celebration. There’s also an art display, blues poetry and blues Karaoke – I’m anxious to see that! Look out if Willy “A” is in the house.
For the benefit of some folks who may not have made it out to Highway 61, I put together a few guidelines…Colorblind Blain's Campfire Credo
- Welcome to the Blues Campfire where long, self-indulgent solos are not only tolerated but welcome.
- We stick to straightforward blues so everybody can play along (unless told otherwise).
- We're not big on introductions, just pull up a chair and plug in.
- We go round-robin, taking turns playing a song or two.
- If you're playing the house guitar, please wash the BBQ sauce off your fingers first.
- Please leave us your email/website and have a drink on the house.
- We’re a very generous and accepting group, but if you play slide you better be good!
don't forget...
EVERY TUESDAY
Colorblind Brian's Blues Campfire
7-10 PM
Highway 61 Southern BBQ
1620 Bayview
416-489-7427
(all musicians welcome)
MORE UPCOMING SHOWS
As part of the Orangeville Blues and Jazz Festival I will be performing at the Grace Tipling Hall, 203 Main St. E. Shelburne on Sunday June 6th at 2:00 PM I will be sharing the afternoon with another Townshipper, nternationally renowned mystery writer Louise Penny who will be reading from her latest best-seller, The Brutal Telling, and I will be playing some of my Townships blues (in both official languages) Call 519-925-2600 for reservations
OUT AND ABOUT
Had a great time playing with Jerome Godboo and Burke Carroll at the Kentucky Derby. Naaaa, we weren't in Louisville - we were playing at the Woodbine Racetrack out by Toronto airport. They take their Kentucky Derby quite seriously at Woodbine, even though people have to watch it on the big screen, but they can place their bet and feel like they're at "the track." I got a nice lapel pin with "136th Kentucky Derby." I placed my first bet ever, even though I've played numerous times at racetracks. Anyway, Linda, there was no horse with a flower in his name so I bet on the horse that had "music" in his name and he came fourth - even though he was a real long shot. We started at 11am (even though the actual Kentucky Derby main race was much later) and this was the first of 3 gigs for Burke on that day – he raced off to play at the Cameron House (this may have been some kind of "farewell concert" for the Cameron House. And later that night he had a show for Riverdale Share, a community event in my community. I played it once - I hope I get another chance! What a treat playing again with Jerome! He is an amazing harp player and a very respect-worthy person. He is also a new daddy! The next day I was playing a gig in at the “Old Home Show” in Oakville with Larry Kurtz and boy, Larry was wailing! He can hold his own with any of them.
After the gig in Oakville, I tried to drop by the Sky Lounge to give Jerome back his tuner and thought I was taking the back way but I couldn't find it and even when I tried to backtrack to the route I used to take, I still couldn't find the damn place. And the whole time I was talking to my self and planning what to say to that club owner, who OWES ME A GIG! He was kind enough to call me personally to apologize for a double booking and that George Oliver would be doing the date...but I was supposed to get another date. Note to self: get that gig.
After resting up from the “Kentucky Derby gig” I dropped in to the Silver Dollar for Raoul Bhaneja’s Tribute to Little Walter. I was kinda late but I liked what I heard and what a crowd they got out for that. The front and back rooms were packed. Apparently, if you didn’t have a reservation you had to sit in the back room – that’s a first! When I mentioned to one of the participants that it was a big crowd his response was that everyone had really worked this show, ie, called all their friends. That’s the secret to filling a blues club, I guess. Have five special guests and get them all to bring their crowd. I hope it works for the Sockman on May 31 – he’s got all of Downchild (except for Donnie Walsh), David Rotundo and two very sexy, talented singers, Cheryl Lescom and his new protégée, Viviana, and oh yes, yours truly has been invited to do a number with the band. That’s at the Dollar.
At one point in the evening I heard a crash behind me and turned around to see that someone had passed out. A minute later he was back on his feet and saying he was OK and just as he was saying that, he went down again, this time knocking his head on the giant fan they have at the back of the room. Everybody, including me, was telling the staff to call 911 (even though most everybody had a cel phone in their pocket). Curious. But Canadianblues.ca’s Andie Maranda did not hesitate a moment and sprung to his aid like a trained EMS person and watched over him for the next little while. Now I know the Canadian blues scene will survive with a formidable woman like that looking out for us.
THE EVER-ELUSIVE NEXT CD
Yesterday we had the first meeting of the Colorblind Blain Support Committee and we are looking at the song selection for the new CD. I have arranged a studio and engaged some of my favourite musicians so we’re committed and not looking back. I remember 5 years ago when a similar group gathered in my kitchen and as I recall were not exactly blown away with the material but it’s reassuring to see a song like “Saab Story” achieve a lot airplay and comments when it got nothing but quizzical looks as a brand new tune. And speaking of “Saab Story,” I’m still miffed at myself for cutting out a verse because some producer thought it was too long – I always sing all the verses and if I could I would re-record it. Note to self: follow your heart.
I mentioned last time that we had a “recording fund” , and I’ll mention it again because some of you didn’t get the last Blainletter - you can deposit directly into account 00646842698006400101 at Alterna Savings and Credit Union, Danforth Avenue. (or talk to me). And thank you for your support, even if it’s only reading these ramblings of mine.
FRASER & DEBOLT CBC DOCUMENTARY
The much anticipated Fraser and DeBolt radio documentary has a broadcast It's going to be on the program Inside The Music on CBC Radio 2 at 3 pm on Sunday May 23rd (and I think it airs again that night on Radio One at 9 pm.) Some information about the episode should appear on their blog at http://www.cbc.ca/radio2/programs/insidethemusic/ at some point earlier that week. And episodes of the show are posted online at http://www.cbc.ca/radio2/programs/insidethemusic/audio.html once they've aired, so people will be able to hear it even if they miss the radio broadcast. I had a rather lengthy interview with the young lady who undertook this and I’ll be anxious to see how much she used. Not too much, I hope. Hopefully this will help bring some attention to a 60s folk music phenomenon that was born in Canada – and partially took shape in my living room in Hamilton - and, after 40 years, still has fans searching for replacement albums for their worn-out vinyl (none of it was ever reissued on CD). If Fraser & DeBolt had been as popular in Canada as they were in the states, they would be regarded as Canadian folk pioneers. Instead, they are mostly ignored or forgotten in Canada, even though I remember well that they fought tough and nail to stay on their farm in the Eastern Townships when their US manager and record label were pressuring them to move to a little town none of us had ever heard of…called Woodstock.
MOATM (Music on at the Moment): Allison Krauss and Robert Plant. When I made the last album, I asked everyone to listen to the John Hammond album “Wicked Grin” and this time I’ll be asking them to listen to “Raising Sand.” Now last time, the only person who listened to Wicked Grin was drummer Michelle Josef, and that was probably enough to capture a bit of the vibe I was looking for.
It’s also the only show of the year where you’ll hear me sing my “cult classic,” “Don’t Forget Your Mother”. You can hear it here: mother.mp3. We recorded three sides at those sessions in 1973 and the two othere were released on Good Noise Records, but “Don’t Forget Your Mother” was never released (for a variety of reasons). But it was a bit of an underground favourite in Montreal in the early 70s. Everybody remembered that tune and just a few years back I ran into one of the guys who played on the session, Tom “Bones” Malone, who was in Toronto filming a Blues Brothers. I was just starting to ask him if he remembered that session and he began singing the chorus. Wow! After all those years. The drummer for the session was Jim Gordon, a first-call studio drummer in Los Angeles who had just finished touring and recording with Derek and The Dominoes. He wrote (and played) the piano part in “Layla”. He was later institutionalized for killing his mother in a schitzophrenic episode but that’s another (hopefully unrelated) story.
The Campfire was amazing last week. I love it when I get people to perform who have hardly ever (or never) done it. I remember when Tony Burns got up and did a couple of Delta Blues and when I commented later that I bet he didn’t do that too often he said he’s never done it (and probably never would again, but we’re working on that). This night, Willy “A”, long standing Blues radio host on CKWR in Kitchener was in the house and when I asked innocently if he or his buddy played they had a good laugh but after the night was underway Willy said maybe he would get up and sing “Stormy Monday”. Well he nailed it, putting on a real show for the folks – at one point he was even down on one knee – and later when he was leaving the club one rowdy table would not let him leave until he performed another tune – which he did!
There will also be a special Campfire at the Toronto Blues Society’s 25th Anniversary bash at the Gladstone Hotel on Friday, May 28. I’ll be lighting up the campfire in the Art Bar starting around 7pm. Harrison Kennedy is performing in the front Room and Shakura S’Aida and Fathead are featured in the Ballroom. It will be a grand celebration. There’s also an art display, blues poetry and blues Karaoke – I’m anxious to see that! Look out if Willy “A” is in the house.
For the benefit of some folks who may not have made it out to Highway 61, I put together a few guidelines…Colorblind Blain's Campfire Credo
- Welcome to the Blues Campfire where long, self-indulgent solos are not only tolerated but welcome.
- We stick to straightforward blues so everybody can play along (unless told otherwise).
- We're not big on introductions, just pull up a chair and plug in.
- We go round-robin, taking turns playing a song or two.
- If you're playing the house guitar, please wash the BBQ sauce off your fingers first.
- Please leave us your email/website and have a drink on the house.
- We’re a very generous and accepting group, but if you play slide you better be good!
don't forget...
EVERY TUESDAY
Colorblind Brian's Blues Campfire
7-10 PM
Highway 61 Southern BBQ
1620 Bayview
416-489-7427
(all musicians welcome)
MORE UPCOMING SHOWS
As part of the Orangeville Blues and Jazz Festival I will be performing at the Grace Tipling Hall, 203 Main St. E. Shelburne on Sunday June 6th at 2:00 PM I will be sharing the afternoon with another Townshipper, nternationally renowned mystery writer Louise Penny who will be reading from her latest best-seller, The Brutal Telling, and I will be playing some of my Townships blues (in both official languages) Call 519-925-2600 for reservations
OUT AND ABOUT
Had a great time playing with Jerome Godboo and Burke Carroll at the Kentucky Derby. Naaaa, we weren't in Louisville - we were playing at the Woodbine Racetrack out by Toronto airport. They take their Kentucky Derby quite seriously at Woodbine, even though people have to watch it on the big screen, but they can place their bet and feel like they're at "the track." I got a nice lapel pin with "136th Kentucky Derby." I placed my first bet ever, even though I've played numerous times at racetracks. Anyway, Linda, there was no horse with a flower in his name so I bet on the horse that had "music" in his name and he came fourth - even though he was a real long shot. We started at 11am (even though the actual Kentucky Derby main race was much later) and this was the first of 3 gigs for Burke on that day – he raced off to play at the Cameron House (this may have been some kind of "farewell concert" for the Cameron House. And later that night he had a show for Riverdale Share, a community event in my community. I played it once - I hope I get another chance! What a treat playing again with Jerome! He is an amazing harp player and a very respect-worthy person. He is also a new daddy! The next day I was playing a gig in at the “Old Home Show” in Oakville with Larry Kurtz and boy, Larry was wailing! He can hold his own with any of them.
After the gig in Oakville, I tried to drop by the Sky Lounge to give Jerome back his tuner and thought I was taking the back way but I couldn't find it and even when I tried to backtrack to the route I used to take, I still couldn't find the damn place. And the whole time I was talking to my self and planning what to say to that club owner, who OWES ME A GIG! He was kind enough to call me personally to apologize for a double booking and that George Oliver would be doing the date...but I was supposed to get another date. Note to self: get that gig.
After resting up from the “Kentucky Derby gig” I dropped in to the Silver Dollar for Raoul Bhaneja’s Tribute to Little Walter. I was kinda late but I liked what I heard and what a crowd they got out for that. The front and back rooms were packed. Apparently, if you didn’t have a reservation you had to sit in the back room – that’s a first! When I mentioned to one of the participants that it was a big crowd his response was that everyone had really worked this show, ie, called all their friends. That’s the secret to filling a blues club, I guess. Have five special guests and get them all to bring their crowd. I hope it works for the Sockman on May 31 – he’s got all of Downchild (except for Donnie Walsh), David Rotundo and two very sexy, talented singers, Cheryl Lescom and his new protégée, Viviana, and oh yes, yours truly has been invited to do a number with the band. That’s at the Dollar.
At one point in the evening I heard a crash behind me and turned around to see that someone had passed out. A minute later he was back on his feet and saying he was OK and just as he was saying that, he went down again, this time knocking his head on the giant fan they have at the back of the room. Everybody, including me, was telling the staff to call 911 (even though most everybody had a cel phone in their pocket). Curious. But Canadianblues.ca’s Andie Maranda did not hesitate a moment and sprung to his aid like a trained EMS person and watched over him for the next little while. Now I know the Canadian blues scene will survive with a formidable woman like that looking out for us.
THE EVER-ELUSIVE NEXT CD
Yesterday we had the first meeting of the Colorblind Blain Support Committee and we are looking at the song selection for the new CD. I have arranged a studio and engaged some of my favourite musicians so we’re committed and not looking back. I remember 5 years ago when a similar group gathered in my kitchen and as I recall were not exactly blown away with the material but it’s reassuring to see a song like “Saab Story” achieve a lot airplay and comments when it got nothing but quizzical looks as a brand new tune. And speaking of “Saab Story,” I’m still miffed at myself for cutting out a verse because some producer thought it was too long – I always sing all the verses and if I could I would re-record it. Note to self: follow your heart.
I mentioned last time that we had a “recording fund” , and I’ll mention it again because some of you didn’t get the last Blainletter - you can deposit directly into account 00646842698006400101 at Alterna Savings and Credit Union, Danforth Avenue. (or talk to me). And thank you for your support, even if it’s only reading these ramblings of mine.
FRASER & DEBOLT CBC DOCUMENTARY
The much anticipated Fraser and DeBolt radio documentary has a broadcast It's going to be on the program Inside The Music on CBC Radio 2 at 3 pm on Sunday May 23rd (and I think it airs again that night on Radio One at 9 pm.) Some information about the episode should appear on their blog at http://www.cbc.ca/radio2/programs/insidethemusic/ at some point earlier that week. And episodes of the show are posted online at http://www.cbc.ca/radio2/programs/insidethemusic/audio.html once they've aired, so people will be able to hear it even if they miss the radio broadcast. I had a rather lengthy interview with the young lady who undertook this and I’ll be anxious to see how much she used. Not too much, I hope. Hopefully this will help bring some attention to a 60s folk music phenomenon that was born in Canada – and partially took shape in my living room in Hamilton - and, after 40 years, still has fans searching for replacement albums for their worn-out vinyl (none of it was ever reissued on CD). If Fraser & DeBolt had been as popular in Canada as they were in the states, they would be regarded as Canadian folk pioneers. Instead, they are mostly ignored or forgotten in Canada, even though I remember well that they fought tough and nail to stay on their farm in the Eastern Townships when their US manager and record label were pressuring them to move to a little town none of us had ever heard of…called Woodstock.
MOATM (Music on at the Moment): Allison Krauss and Robert Plant. When I made the last album, I asked everyone to listen to the John Hammond album “Wicked Grin” and this time I’ll be asking them to listen to “Raising Sand.” Now last time, the only person who listened to Wicked Grin was drummer Michelle Josef, and that was probably enough to capture a bit of the vibe I was looking for.
Friday, April 30, 2010
What are the odds?
I used to alternate years that I would apply to play the summer festivals and it seemed like even when I did a big blitz of submissions I would get a handful of gigs and then when I did absolutely nothing I would still get a handful of gigs. I think somewhere along the line I just gave up entirely (well, at least until I have a new CD to flog) but wouldn’t you know that I get two offers a day apart and they are for the same date – June 26th. Oh well...maybe that will save me having to decide between Herbie Hancock and Robben Ford, both playing the jazzfest that night. Oh yeah, the downtown core will be locked up tight as a drum for Obama and the other G-20 Leaders.
Tuesday, March 30, 2010
Quote of the Day
"Kindness in words creates confidence. Kindness in thinking creates profoundness. Kindness in giving creates love."
(Lao Tzu)
(Lao Tzu)
Monday, March 22, 2010
Upcoming Gigs
The Mighty Duck Blues Band w/Brian Blain
Saturday Mar 27 2:30 PM
The Duck (Golden Pheasant) 244 Ontario St.
St. Catharines 905-687-9505
For all my fans and Blainletter subscribers in the St. Catharines area (you know who you are)
Mose Scarlett & Brian Blain
Saturday, April 24 8PM
Glass Onion House Concerts
Wallaceburg, ON
After getting musically re-acquainted at Winterfolk, I get to play again with the inimitable Mose Scarlett in an intimate house concert setting (call John Gardiner at 519-627-5978 if you're in that area and would like some details)
Brian Blain and the Bluesgrass Boys
Saturday May 1 11AM-2PM
Woodbine Racetrack
celebrating the 136th running of the Kentucky Derby
and don't forget...
EVERY TUESDAY
Colorblind Brian's Blues Campfire
7-10 PM
Highway 61 Southern BBQ
1620 Bayview
416-489-7427
(all musicians welcome)
Saturday Mar 27 2:30 PM
The Duck (Golden Pheasant) 244 Ontario St.
St. Catharines 905-687-9505
For all my fans and Blainletter subscribers in the St. Catharines area (you know who you are)
Mose Scarlett & Brian Blain
Saturday, April 24 8PM
Glass Onion House Concerts
Wallaceburg, ON
After getting musically re-acquainted at Winterfolk, I get to play again with the inimitable Mose Scarlett in an intimate house concert setting (call John Gardiner at 519-627-5978 if you're in that area and would like some details)
Brian Blain and the Bluesgrass Boys
Saturday May 1 11AM-2PM
Woodbine Racetrack
celebrating the 136th running of the Kentucky Derby
and don't forget...
EVERY TUESDAY
Colorblind Brian's Blues Campfire
7-10 PM
Highway 61 Southern BBQ
1620 Bayview
416-489-7427
(all musicians welcome)
The campfire is in the shop. Hopefully just a power-cord issue. Our regular Tuesdays at Highway 61 BBQ have been great – full of surprises. Last Tuesday it was the “two Charlies” (pictured). Nova Scotia Music’s Entertainer of the Year Charlie A’Court and an 11-year old wunderkind whose blues moniker is "Sir Charles". The kid sat in on a couple of blues tunes then asked if he and his teacher Ted could do something by themselves and he proceeded to rip it up on Eric Clapton’s “Layla”. Andy Frank of Roots Music Canada came by with his camera on the Anniversary week-end and you can see his reportage at http://www.rootsmusic.ca. You’ll get the skinny on Highway 61 BBQ (but not the recipe to their secret sauce).
Out and about: Thursday was a big night out. First I checked in to the elegant Old Mill where Karrin Allyson was performing the first of a new jazz series produced by Downtown Jazz. Then off to find Charlie A’Court’s gig in Cabbagetown but I didn’t have the address or my cel phone and after driving up and down Parliament street I just gave up and headed over to the Caddillac Lounge where the Toronto Blues Society was having a showcase of up-and-comers. Missed Jesse Whiteley, who did a solo piano set and I would have loved to hear it because everytime I hear him play (with JW Jones or otherwise) I like what I hear. Proud dad Chris Whiteley was in the house along with his fiancee, Diana Braithwaite and we had a chance to catch up. Then a new band called Chloe Watkinson and the Crossroads, young but a bit of an old (r ‘n b) soul, and the glitzy Ginger St. James. Ginger had a way of singing behind the groove, but nowhere near as much as Karrin, who made you wonder sometimes how she was going to recover the phrase. I guess Karrin is quite the singer’s singer because the room was peppered with local jazz vocalists who all seemed to be in awe. I’m in awe of Sheila Jordan but it’s about more than just the way she phrases, but I didn’t get that connection from Karrin though she’s obviously an impeccable vocalist and a damn fine piano player. I cut out after a couple of Ginger tunes to hear Paul Reddick and his new band (?) in a new venue at 777 Queen St. Flohil told me about the gig and it was organized by his former assistant, Samantha, who I reminded was the entire audience for most of my showcase in the Sweet Beaver Suite at the Folk Alliance a few years back. Actually a couple of other people drifted in, including Donna Wilson who is married to Rounder founder Ken Irwin and whom any other folkie would have died for except Donna’s heard me play many times and has been a great supporter seeing as I was a bit of a matchmaker in her romance with Ken. Anyway, the venue is apparently a Persian restaurant but tonight it was a rockin’ blues bar with Paul. Teddy Leonard, John Dymond and Gary Craig. Not the same Gary Craig I met in an elevator at Canadian Music Week who told me he had been Long John Baldry’s manager back in Vancouver. Well, I couldn’t resist looking him up in the Baldry biography that Inever quite finished and sure enough there he is...probably not as flattering as he would have liked. I told him about touring Baldry’s circuit in Germany with Kathi MacDonald and when I told him we were doing some gigs without a rhythm section his comment was “you must be good!” All right, that’s enough patting myself on the back till I put my shoulder out of joint
Blues in Montreal
Wish I had been there for a gig, but it was for a funeral, regrettably. The night before I headed back to T.O. I decided to drop in to Bourbon Street, one of the clubs that presents blues on a regular basis thanks to promoter Brian Slack and the Montreal Blues Society. I was finding it hard to gather the energy, but when I saw legendary Quebec guitarist Jimmy James on the bill I decided if I want to hear JJ, I had better seize the moment because he rarely plays in Toronto. Arriving at the club I encounter the Montreal Blues Society table with a couple a familiar faces from the MBS “hospitality suite” at the Blues Summit a couple of years back. It turns out that Brian S. had to spin a little magic when the bass player was in a car accident and he had to rustle up a rhythm section – apparently the new bass player arrived halfway through the first set. The front man was a barrelhouse boogie piano player. The cynical Toronto blues person would say we’ve got a hundred guys in our town who can do that...but then, can you really have too many barrelhouse boogie piano players??
While we’re talking about Quebec, I got a news flash that there was a feature film being shot on the life of Gerry Boulet, lead singer of Offenbach. How often does a Canadian blues guy get immortalized in a feature film? I actually sent a “tweet” on that (you can follow me on Twitter by going to www.BrianBlain.ca. The one story I remember about Offenbach will not be unfamiliar to a lot of blues bands around the world. Offenbach was seconded to back up Chuck Berry at the Montreal Forum. Chuck usually traveled alone and picked up a local band in whatever town and just assumed they would know all his songs (which they mostly did). Of course in Quebec, Offenbach were as big as Chuck Berry so it was more of a double bill, but the guys were thrilled to back up the living legend. Then when it was showtime, Chuck said that he didn’t want the guitar player, just the rhythm section. Offenbach’s guitarist was Jean Millaire, who was a bit of a guitar god in Quebec. I guess a lot of people were disappointed, but that’s how Chuck rolled.
While in Montreal, I got together with Allan Fraser and heard some of his recent solo recording as well as a live recording of Fraser & DeBolt in 1969. I just heard the first three or four tracks and it was jaw-dropping. Allan was a bit dismissive...”oh we’ve got much better live recordings than that” but the fact is nobody’s doing anything with them. I’ve got a couple of tapes from the sessions I produced in 1971 and who would have thought I’d have to be looking up restoration experts to “bake” some tapes I produced. Wait till this younger generation of folkies hear what F & DeB were doing in the 60s...the original acid folk. Lots going on on the Fraser & DeBolt dossier. Watch for a big CBC Radio doc on “Inside the Music” and maybe even a CD of unreleased material. After all these years there are still thousands of rabid Fraser & DeBolt fans who would kill to hear some new material. I just put up a video on YouTube and Daisy has been loading up some great old pictures. Check it out at fraserdebolt.com
While we’re talking about Quebec, I got a news flash that there was a feature film being shot on the life of Gerry Boulet, lead singer of Offenbach. How often does a Canadian blues guy get immortalized in a feature film? I actually sent a “tweet” on that (you can follow me on Twitter by going to www.BrianBlain.ca. The one story I remember about Offenbach will not be unfamiliar to a lot of blues bands around the world. Offenbach was seconded to back up Chuck Berry at the Montreal Forum. Chuck usually traveled alone and picked up a local band in whatever town and just assumed they would know all his songs (which they mostly did). Of course in Quebec, Offenbach were as big as Chuck Berry so it was more of a double bill, but the guys were thrilled to back up the living legend. Then when it was showtime, Chuck said that he didn’t want the guitar player, just the rhythm section. Offenbach’s guitarist was Jean Millaire, who was a bit of a guitar god in Quebec. I guess a lot of people were disappointed, but that’s how Chuck rolled.
While in Montreal, I got together with Allan Fraser and heard some of his recent solo recording as well as a live recording of Fraser & DeBolt in 1969. I just heard the first three or four tracks and it was jaw-dropping. Allan was a bit dismissive...”oh we’ve got much better live recordings than that” but the fact is nobody’s doing anything with them. I’ve got a couple of tapes from the sessions I produced in 1971 and who would have thought I’d have to be looking up restoration experts to “bake” some tapes I produced. Wait till this younger generation of folkies hear what F & DeB were doing in the 60s...the original acid folk. Lots going on on the Fraser & DeBolt dossier. Watch for a big CBC Radio doc on “Inside the Music” and maybe even a CD of unreleased material. After all these years there are still thousands of rabid Fraser & DeBolt fans who would kill to hear some new material. I just put up a video on YouTube and Daisy has been loading up some great old pictures. Check it out at fraserdebolt.com
Sunday, March 21, 2010
I've written more songs than...
...more songs than even I remember. My oldest musical friend, Sue Lothrop, called the other day and said she was working on an old tune we had worked up together a long time ago (that would be the early 70s). She said it was called “Blown Away Again” and recited a few lines on the phone but I drew a total blank. In fact I denied writing it and when she told me she had me on cassette singing it I still thought it must be somebody who sounded like me. Well last week I was in Montreal (sadly, for the funeral of a cousin who had been a big supporter of my music) and she sat me down and played me the tape and there’s no denying it – it’s me, singing and playing chords I never played before or since. She filled in the blanks and cleaned it up (literally, as she replaced the line “so I had a drink and a toke” - and I guess that line might even explain my memory lapse. So is it still intellectual property if you can’t remember you wrote it?
Speaking of old songs, I had a great Blues in the Schools session with the youngest class I’ve ever had to deal with (grade 2 or 3) and when I opened it up for questions, one of the little ones asked me to sing the first song I ever wrote. Well I happen to remember the first song I wrote, though I couldn’t quite get through the whole thing. It’s called “The Family That Cared”...”You went off to war in 1939, came back a hero after serving your time, thought you fought as well as you could, you were very sure that you understood, some of the quys who came back said ‘nobody cares’, but thank heaven you’ve got a family that cares”. It was a song for my dad, but he never heard it. The kids were loving my version of blues history but I restrained myself from launching into the legend of Robert Johnson. The last time I was with a group this age and had them all wide-eyed telling them Robert Johnson had made a “deal with the devil” at the crossroads and how Robert was chasing women until the husband of one of them gave him some poison whiskey...at which point the teacher stood up at the back of the class and gave me a bit of a dirty look. We wrote a song called the “Room 5 Blues” and their teacher recorded it and put it up on YouTube <http://www.youtube.com/watch?v=ClmpaG6OCe4> . You won’t see the kids on the video (privacy issues) but you’ll hear them singing.
Speaking of old songs, I had a great Blues in the Schools session with the youngest class I’ve ever had to deal with (grade 2 or 3) and when I opened it up for questions, one of the little ones asked me to sing the first song I ever wrote. Well I happen to remember the first song I wrote, though I couldn’t quite get through the whole thing. It’s called “The Family That Cared”...”You went off to war in 1939, came back a hero after serving your time, thought you fought as well as you could, you were very sure that you understood, some of the quys who came back said ‘nobody cares’, but thank heaven you’ve got a family that cares”. It was a song for my dad, but he never heard it. The kids were loving my version of blues history but I restrained myself from launching into the legend of Robert Johnson. The last time I was with a group this age and had them all wide-eyed telling them Robert Johnson had made a “deal with the devil” at the crossroads and how Robert was chasing women until the husband of one of them gave him some poison whiskey...at which point the teacher stood up at the back of the class and gave me a bit of a dirty look. We wrote a song called the “Room 5 Blues” and their teacher recorded it and put it up on YouTube <http://www.youtube.com/watch?v=ClmpaG6OCe4> . You won’t see the kids on the video (privacy issues) but you’ll hear them singing.
Wednesday, March 17, 2010
Notes from Music Week
Music Week was really only a couple of days for me and maybe that was one day too many but I always get somethin out of it - even obvious stuff bears repeating:
“Better to have no website than a dormant website” was a good tip. “Be the kind of person that others want to see succeed” - Now there’s a good one. I think that came from networking guru Dan Kimpel. He was hilarious and knew all about networking and he practiced his craft in Hollywood. He went to events with a co-conspirator and they each took part of the room and whoever they met, they said “Have you met my friend Dan? Well, I’ll introduce you later...” His partner knew that if he didn’t introduce her within the first 15 seconds that it was because he didn’t know the person’s name. So she would introduce herself and the name would be revealed. He though that admitting you had forgotten someone’s name was a horrible faux-pas and should be avoided at all costs. Here’s another rule of his: Never poke in on a conversation between two people. However, if there’s 3 or more, jump right in.
CMW got it right when they had a website that was able to display a last-minute late-night set by one of the “buzz bands”, Woodhands. Anyway I made a point of catching them and they were quite phenomenal. On the down side, CMW burried what to a large community would have been one of the most popular shows, turntablists Rob Swift and Mistah Sinista). According to my son the DJ, these guys are considered the top players in the land and have been for ten years. Not only were they under-promoted b ut their listing in the official printed programme guide was wrong. Seeing them close up doing their turntablist tricks was jaw-dropping.
Discovered a great new venue, The Wrongbar on Queen W near the Caddilac Lounge. Great production, nice layout. Mostly DJ’s but a nice big stage to accommodate a band. They’ve got everyhthing! I think I’ve heard “more monitor” a million times but this was the first time I heard a musician saying “more smoke”...and then there was some! I’m sure it was organic smoke,
“Better to have no website than a dormant website” was a good tip. “Be the kind of person that others want to see succeed” - Now there’s a good one. I think that came from networking guru Dan Kimpel. He was hilarious and knew all about networking and he practiced his craft in Hollywood. He went to events with a co-conspirator and they each took part of the room and whoever they met, they said “Have you met my friend Dan? Well, I’ll introduce you later...” His partner knew that if he didn’t introduce her within the first 15 seconds that it was because he didn’t know the person’s name. So she would introduce herself and the name would be revealed. He though that admitting you had forgotten someone’s name was a horrible faux-pas and should be avoided at all costs. Here’s another rule of his: Never poke in on a conversation between two people. However, if there’s 3 or more, jump right in.
CMW got it right when they had a website that was able to display a last-minute late-night set by one of the “buzz bands”, Woodhands. Anyway I made a point of catching them and they were quite phenomenal. On the down side, CMW burried what to a large community would have been one of the most popular shows, turntablists Rob Swift and Mistah Sinista). According to my son the DJ, these guys are considered the top players in the land and have been for ten years. Not only were they under-promoted b ut their listing in the official printed programme guide was wrong. Seeing them close up doing their turntablist tricks was jaw-dropping.
Discovered a great new venue, The Wrongbar on Queen W near the Caddilac Lounge. Great production, nice layout. Mostly DJ’s but a nice big stage to accommodate a band. They’ve got everyhthing! I think I’ve heard “more monitor” a million times but this was the first time I heard a musician saying “more smoke”...and then there was some! I’m sure it was organic smoke,
Dear Bob Lefsetz
In the elevator at the Royal York Hotel I find out I’m riding with the “merch lady” who you beat up in the Q & A after your rant at Canadian Music Week. I thought she would be bummed but she had a great day and was now a celebrity of sorts at her merch booth. You made her day, maybe her year! What the Buddhists call “turning poison into medicine”
Tuesday, March 2, 2010
A Day in the Life of The Stringbuster
Tonight I was supposed to Open for Alfie Smith at the Free Times but the way I heard it, Alfie ended up opening for a big show in Hamilton (turns out it was April Wine). Who’s to say which would be a better payday. There was not a big crowd at Free Times. Alfie’s last minute sub was a wonderful singer called Laura Aidanblaise. We swapped CD’s (always a delicate bit of backstage etiquette – when you ask someone to swap you put them on the spot...) We were done at ten so I headed over to Jerome Godboo’s regular Thursday at the Delta Chelsea. Jerome had invited me to come and sit in. I should know these things – being the (barely)managing editor of MapleBlues – but Fathead was filling in for Jerome that night and I figured I’d just brought my guitar for nothing. But then, talking to the boys on the break, Al said he had called me up to the stage but I guess I was in the washroom. Anyway I did make it up in the next set and did a couple of tunes. Wow, sitting in with Fathead...we’re in the big time now! It’s great that the Delta (the biggest hotel in the city) has supported the blues with this regular Thursday night of blues for a year now (they call it the “Delta Blues” of course). I would hope that blues lovers from out of town would make the Delta their hotel of choice in Toronto. Hey, I think I just wrote a commercial...haven’t done that since my ad-agency days in the late 60s.
Winterfolk moments
Day One: I take the stage in the back room of the Willow and after the first song I realize my shoes are stuck to the floor. Then I'm stepping up and down and the audience is breaking up with laughter because I'm making these crazy sticky sounds. I couldn't continue with that and I didn't want to inflict it on the next group so I got the waitress to take a moment to pass the mop. Mose Scarlett says I really "mopped up" at Winterfolk.
Day Two: This was a breakthrough. I got up at Marg's set and sang "What A Wonderful World" I don't think I've ever got on stage and sung without a guitar in my hands!
Day Three: The Campfire was a blast and now I just played a set with Mose Scarlett. I was playing bass and I believe I experienced sheer bliss (interspersed with moments of sheer terror - like when the key changed!). And even though there were a few boo-boos, I love playing bass with him. I'll be joining him again at The Black Swan tomorrow at 5pm. I'm doing a solo set at 3pm.
Day Four: Lots more music and camaraderie, backed up Mose again and did a good solo set with a great audience - including some friends who had never heard me play. I love it when I can provide a pleasant surprise.
Day Two: This was a breakthrough. I got up at Marg's set and sang "What A Wonderful World" I don't think I've ever got on stage and sung without a guitar in my hands!
Day Three: The Campfire was a blast and now I just played a set with Mose Scarlett. I was playing bass and I believe I experienced sheer bliss (interspersed with moments of sheer terror - like when the key changed!). And even though there were a few boo-boos, I love playing bass with him. I'll be joining him again at The Black Swan tomorrow at 5pm. I'm doing a solo set at 3pm.
Day Four: Lots more music and camaraderie, backed up Mose again and did a good solo set with a great audience - including some friends who had never heard me play. I love it when I can provide a pleasant surprise.
Tuesday, February 23, 2010
Blainettin #1
For those who are not familiar with the (mostly)monthly Blainletter, it’s a long rambling chronicle of my attempts to develop a music career in the Toronto music scene. This is an abbreviated version with less stories and gets right down to the blatant self-promotion:
Tuesday Night (tonight!) it’s the First Anniversary Campfire at Highway 61 Southern BBQ. Actually, the Campfire has only been going for 7 months, but the club has been open a year. My special guests this night will be Robin Banks, Son Roberts and barrelhouse piano player Roberta “Bertie” Hunt. I’m sure they’ll be a few surprises, too. Apparently Roots & Music Canada folks will be by to do their “reportage”. The address is 1620 Bayview, a couple of blocks south of Eglinton. We play from 7-10.
Thursday Night (Feb 25) I’ll be doing an opening set (8:30) for the Alfie Smith concert at Free Times Café, 320 College St.
“Blain Mops Up at Winterfolk” - Mose Scarlett
When I hit the stage for my first set at Winterfolk, the stage floor was so sticky that my feet were practically glued to the ground. Whe I lifted them up, the made weird squishy sounds and everybody laughed. After a couple of songs I asked the waitress to bring out a mop and I was thus able to spare all the performers that followed me at the Willow. I was subbing for Howard Gladstone, and also subbed for Mr. Rick and ended up playing bass with Mose Scarlett twice. Well, it will take more than a couple of passes to learn all those changes but Mose had good advice: “Don’t play what I’m playing, just be sure you’re following the melody.”
NEWS FLASH! “Two hardened Winterfolk soundmen reduced to goose bumps by Brian Blain song.”
It’s true, after my first set at Winterfolk, the sound man at the Willow said “I got goose-bumps when you sang that song about Lenny Breau” Then a couple of days later, I did the same song and told the story of how I gave the soundman at the Willow goose bumps and a burly guy with beard shouted from the other side of the room “Well I’m a soundman and I just got goose bumps.” That’s two, count ‘em, TWO, soundmen won over in one week-end.
My “discovery of the week” at Winterfolk was a great blues guy from the London area called Rick Taylor. Some may remember him from a long time ago, before my time in TO. He was away on the west coast but he’s back now and playing wih a vengeance! Honorable mention to the soft-spoken Rich Burnett from Guelph who shared the City Roots stage with me and played exquisitely on a beautiful hand-made guitar.
Out and About
Just in from hearing the “new” Sisters Euclid at the Orbit Room. The new guy is organist Mark Malana, a phenomenal player – this was the first time he played some of those tunes but you never would have known it. Kevin Breit would be hard to follow at the best of times but tonight he was giving the new kid a taste of how it’s going to be. Wild, unabashed improvisation – with Kevin taking solos by flipping his guitar backwards and rubbing the strings against his shirt opr by unplugging the guitar and making a rhythmic pattern by tapping the live plug with his thumb. They’re only playing the Orbit on the last Monday of the month, but I plan on catching them again. Yesterday, I heard bluegrass at it’s best – James King from Virginia, with a new tenor singer/mandolinist Ron Spears who knocked me out.
If you’re my age, you might remember a folk-phenomenon called Fraser & DeBolt. They were the original “acid folk” and they came by that label honestly. I worked with them in those days and we’re still great friends and they’ve asked me to help with the Fraser & DeBolt website – I put in a Flickr slideshow and a video of Allan and Daisy performing at the Philadelphia Folk Festival in 1971. That reminds me, if you go to brianblain.ca, you will see another Flickr slideshow, this one with lots of cool old posters and promo shots. Some pretty funny (check out the Alligators, Butch Coulter, Allan Fraser and me, circa 1974) www.fraserdebolt.com
If you’re reading this at 9am or before, tune in CIUT.FM and you’ll hear hear Harry Manx playing some new tunes live in the studio (how often does that happen??) Hey, that sounds like my guitar!
If you’d like to receive the Blainletter (and these occasional Blainblasts) go to http://brianblain.fanbridge.com and sign up! Thanks for your support, BrianB
Out and About
Tuesday Night (tonight!) it’s the First Anniversary Campfire at Highway 61 Southern BBQ. Actually, the Campfire has only been going for 7 months, but the club has been open a year. My special guests this night will be Robin Banks, Son Roberts and barrelhouse piano player Roberta “Bertie” Hunt. I’m sure they’ll be a few surprises, too. Apparently Roots & Music Canada folks will be by to do their “reportage”. The address is 1620 Bayview, a couple of blocks south of Eglinton. We play from 7-10.
Thursday Night (Feb 25) I’ll be doing an opening set (8:30) for the Alfie Smith concert at Free Times Café, 320 College St.
“Blain Mops Up at Winterfolk” - Mose Scarlett
When I hit the stage for my first set at Winterfolk, the stage floor was so sticky that my feet were practically glued to the ground. Whe I lifted them up, the made weird squishy sounds and everybody laughed. After a couple of songs I asked the waitress to bring out a mop and I was thus able to spare all the performers that followed me at the Willow. I was subbing for Howard Gladstone, and also subbed for Mr. Rick and ended up playing bass with Mose Scarlett twice. Well, it will take more than a couple of passes to learn all those changes but Mose had good advice: “Don’t play what I’m playing, just be sure you’re following the melody.”
NEWS FLASH! “Two hardened Winterfolk soundmen reduced to goose bumps by Brian Blain song.”
It’s true, after my first set at Winterfolk, the sound man at the Willow said “I got goose-bumps when you sang that song about Lenny Breau” Then a couple of days later, I did the same song and told the story of how I gave the soundman at the Willow goose bumps and a burly guy with beard shouted from the other side of the room “Well I’m a soundman and I just got goose bumps.” That’s two, count ‘em, TWO, soundmen won over in one week-end.
My “discovery of the week” at Winterfolk was a great blues guy from the London area called Rick Taylor. Some may remember him from a long time ago, before my time in TO. He was away on the west coast but he’s back now and playing wih a vengeance! Honorable mention to the soft-spoken Rich Burnett from Guelph who shared the City Roots stage with me and played exquisitely on a beautiful hand-made guitar.
Out and About
Just in from hearing the “new” Sisters Euclid at the Orbit Room. The new guy is organist Mark Malana, a phenomenal player – this was the first time he played some of those tunes but you never would have known it. Kevin Breit would be hard to follow at the best of times but tonight he was giving the new kid a taste of how it’s going to be. Wild, unabashed improvisation – with Kevin taking solos by flipping his guitar backwards and rubbing the strings against his shirt opr by unplugging the guitar and making a rhythmic pattern by tapping the live plug with his thumb. They’re only playing the Orbit on the last Monday of the month, but I plan on catching them again. Yesterday, I heard bluegrass at it’s best – James King from Virginia, with a new tenor singer/mandolinist Ron Spears who knocked me out.
If you’re my age, you might remember a folk-phenomenon called Fraser & DeBolt. They were the original “acid folk” and they came by that label honestly. I worked with them in those days and we’re still great friends and they’ve asked me to help with the Fraser & DeBolt website – I put in a Flickr slideshow and a video of Allan and Daisy performing at the Philadelphia Folk Festival in 1971. That reminds me, if you go to brianblain.ca, you will see another Flickr slideshow, this one with lots of cool old posters and promo shots. Some pretty funny (check out the Alligators, Butch Coulter, Allan Fraser and me, circa 1974) www.fraserdebolt.com
If you’re reading this at 9am or before, tune in CIUT.FM and you’ll hear hear Harry Manx playing some new tunes live in the studio (how often does that happen??) Hey, that sounds like my guitar!
If you’d like to receive the Blainletter (and these occasional Blainblasts) go to http://brianblain.fanbridge.com and sign up! Thanks for your support, BrianB
Out and About
Thursday, February 11, 2010
Winterfolkin'
It’s Winterfolk week-end (a long week-end this year) and for those not glued in front of their TV watching the Olympics, the Danforth/Broadview area will be brimming with folk music lovers...and there’s quite a bit of great blues too, including moi on the following occasions...
11pm Friday at The Willow I’ll be subbing for host Howard Gladstone at the late-night Toronto City Roots Presents in the back room. Howard Gladstone will kick it off then race off to the airport or something. The guests are Rich Burnett, Crabtree & Mills and Jessica Stewart Few.
3pm at the Dora Keogh on Sunday, Valentine’s Day, I’ll be doing a set. I just started writing a Valentine’s Day song but don’t think it’ll be finished in time. It’s called “The Woman Done Left Me Come Back Baby Blues” - maybe not so appropriate for Valentine’s...
8pm Sunday evening I’ll be downstairs hosting Colorblind Brian’s Blues Campfire with Alfie Smith, Rick Hodgson, and Rick Taylor. Gary Kendall will be sitting in on bass and maybe a few surprise guests. They also have me down at a “Meet the Artist” thang which is the same time as the Campfire so I hope you slip in to the back room if you’d like a CD signed...
3pm Monday the 15th (Family Day!) I’ll be doing a solo set downstairs at the Black Swan.
As I look over the Winterfolk Schedule, there’s so many artists I want to see...lots of them playing at the same time as me. Oh Well. Kudos to Brian Gladstone and his team of volunteers. They do a lot with few resources
And later in the month....
Thursday, February 25th I’m back at the venerable Free Times Café at 320 College. I’m on at 8:30pm followed by Hamilton slide-meister Alfie Smith
[MOATM (Music On At The Moment) Chris Rawlings classic album “Pearl River Turnaround” with lots of familiar voices (the McGarrigles) and the sweet pedal steel sounds of the dearly departed Ron Dann] They should get Chris up to Winterfolk...he lives just down the street.
11pm Friday at The Willow I’ll be subbing for host Howard Gladstone at the late-night Toronto City Roots Presents in the back room. Howard Gladstone will kick it off then race off to the airport or something. The guests are Rich Burnett, Crabtree & Mills and Jessica Stewart Few.
3pm at the Dora Keogh on Sunday, Valentine’s Day, I’ll be doing a set. I just started writing a Valentine’s Day song but don’t think it’ll be finished in time. It’s called “The Woman Done Left Me Come Back Baby Blues” - maybe not so appropriate for Valentine’s...
8pm Sunday evening I’ll be downstairs hosting Colorblind Brian’s Blues Campfire with Alfie Smith, Rick Hodgson, and Rick Taylor. Gary Kendall will be sitting in on bass and maybe a few surprise guests. They also have me down at a “Meet the Artist” thang which is the same time as the Campfire so I hope you slip in to the back room if you’d like a CD signed...
3pm Monday the 15th (Family Day!) I’ll be doing a solo set downstairs at the Black Swan.
As I look over the Winterfolk Schedule, there’s so many artists I want to see...lots of them playing at the same time as me. Oh Well. Kudos to Brian Gladstone and his team of volunteers. They do a lot with few resources
And later in the month....
Thursday, February 25th I’m back at the venerable Free Times Café at 320 College. I’m on at 8:30pm followed by Hamilton slide-meister Alfie Smith
[MOATM (Music On At The Moment) Chris Rawlings classic album “Pearl River Turnaround” with lots of familiar voices (the McGarrigles) and the sweet pedal steel sounds of the dearly departed Ron Dann] They should get Chris up to Winterfolk...he lives just down the street.
What Happened to January?
I woke up on New Year's Day feeling sick as a dog (no, it wasn't because I overindulged on New year's Eve - I had a very quiet night at home). I was supposed to play at the wedding of friends Paul and Debbie but had to bail and for the next two weeks I was nursing a nasty cold that wouldn't quit. Then, just when I got back on my feet I was felled by a gall-bladder attack and missed out on the Maple Blues Awards and the Songwriters Hall of Fame event the next morning. Anyway, I'm feeling better now...in case you were getting worried about me. My visit to the emergency ward turned a little viral at the MBAs with folks hearing that “Brian is in the hospital” and I’m still deflecting concerns for my health...I’m OK, you’re OK.
I mustered up enough strength to cast my “runes” on New Year’s Day – I try to check in with “the oracle” on auspicious days. Well, as ever, the message from the runes was “Stand Still”, “Plant the seed and wait for the harvest”, “now is not the time for drastic action” and “wait and watch for signs of Spring”...argh, when are we gonna get the bloody harvest?
Had some great gigs at the end of the year, but what does it say about your music career when the most memorable gigs are Christmas parties in someone’s living room or sitting around the kitchen table with old musical friends? I made an appearance at the Toronto Fingerstyle soiree – I got up to do a couple of tunes and one of them was “Another Song About Alice” but when I was introducing it and referred to “Alice’s Restaurant”, there was an audible gasp in the room as they contemplated the horrible prospect that I was about to launch into that 20-minute ramble of Arlo’s. (for those who haven’t heard it, I’ve written a “where is she now” song about Alice Brock. There’s a video clip on the website.)
I mustered up enough strength to cast my “runes” on New Year’s Day – I try to check in with “the oracle” on auspicious days. Well, as ever, the message from the runes was “Stand Still”, “Plant the seed and wait for the harvest”, “now is not the time for drastic action” and “wait and watch for signs of Spring”...argh, when are we gonna get the bloody harvest?
Had some great gigs at the end of the year, but what does it say about your music career when the most memorable gigs are Christmas parties in someone’s living room or sitting around the kitchen table with old musical friends? I made an appearance at the Toronto Fingerstyle soiree – I got up to do a couple of tunes and one of them was “Another Song About Alice” but when I was introducing it and referred to “Alice’s Restaurant”, there was an audible gasp in the room as they contemplated the horrible prospect that I was about to launch into that 20-minute ramble of Arlo’s. (for those who haven’t heard it, I’ve written a “where is she now” song about Alice Brock. There’s a video clip on the website.)
Tuesday, January 26, 2010
Eno Speaks
On a celebration of human frailty
"The other day I heard a band who had the worst singer, the most out of time
drummer and most out of tune guitarist I've ever heard on a professional
record, and I thought, at last, the reaction against pro-tools perfection
has set in. A pro-tools engineer would have sorted it all out, but this band
was an actual celebration of human frailty. It was so rough it was really
encouraging."
http://www.guardian.co.uk/music/2010/jan/17/brian-eno-interview-paul-morley
Saturday, December 5, 2009
Overqualified featured on Itunes
Just got a Google Alert and when I clicked through I discover that
Overqualified For The Blues is an "iTunes Preview" (whatever that means!).
Interesting to note than when I click again I get a little message telling
me I can't buy it because I'm not in the right country - despite the fact
that it was made her. Go figure!
Overqualified For The Blues is an "iTunes Preview" (whatever that means!).
Interesting to note than when I click again I get a little message telling
me I can't buy it because I'm not in the right country - despite the fact
that it was made her. Go figure!
Out and About: Just in from seeing Pork Belly Futures playing in a noisy bar
on the Danforth. Paul Quarington, with tubes running into his nose, was in
fine form and the band was rocking. Paul was on the radio this morning
joking about how he had better crank up the oxygen today because he had a
gig.
Wednesday, December 2, 2009
Blainletter #25 December 1, 2009
In This Issue:
• Season’s Greetings
• Colorblind Brian's Blues Campfire (that’s TONIGHT – grab your guitar
and come on down to Highway 61)
• Yes, there will be a new album in 2010
• Women’s Blues Revue, Downchild and Massey Hall
• Overqualified still spinning
• Out and About
• Thelonious Monk’s advice for musicians (via Steve Lacey)
• Are You a Google Genius?
Well, it is December so I will say Season’s Greetings to all my Blainletter subscribers and on this occasion I’m doing a little outreach and blasting the whole world via MySpace, Facebook and the listserves where I mostly lurk (sorry for any duplicates). It’s a one time thang so no need to unsubscribe unless you’re already subscribed.
I hope I’m not jumping the gun but the Holiday Blainletter is usually a last minute scramble between Christmas and New Year and I thought I’d get it out of the way right now – not that I have a lot of gigs to promote this month. I’ve got a band gig on the calendar for the end of January but I hesitate to advertise it because the venue is not convinced they will continue presenting live music.
Last month three gigs fell in my lap and then fell right out of my lap. It's not like I'm getting rejections, because I don’t even ask. So far, I've been happy to play when invited and leave it at that but I think I need to get more pro-active, especially now in the last gasp for festival submissions. If you've heard my music and you like what I’m doing, please feel free to put a bug in some club owner or festival director's ear. Word of mouth seems to carry a lot more weight than a fancy press kit.
Still gathering around the Campfire:
Meanwhile “Colorblind Brian’s Blues Campfire” every Tuesday (7 to 10pm) at Highway 61 (1620 Bayview) has been going great. Interesting guests...many of them part-timers or hobbyists but I love having them around the campfire and making them sound better than they ever have. Many pros drop by too, the elegant Rita di Ghent, Doc Mclean & Big Dave dropped in on their cross-country "Century" tour, Robin Banks raised the roof, Son Roberts a real natural and a delight to play with, Roberta Hunt and Martin Aucoin have brought their keyboards on occasion and last week I had “Professor Piano” himself, Scott Cushnie. Everybody loves the food and the campfire is much less of a "show" than a regular gig or “open stage.” Musicians arrive, pull up a chair… it’s very casual. We tend to stretch out the songs, everybody plays along and there's no break. Who ever heard of a break at a campfire? We just keep passing around the mike, the guitar and the bass. We play for three hours then it's over.
Yes, there will be a new album in 2010
I’m getting ready to record a new batch of songs including a new version of “Another Song About Alice,” my paean to the wonderful Alice Brock, last celebrated in the song “Alice’s Restaurant.” She’s a great artist and has been an angel to many, including my family, and I’m doing my bit to give her the recognition she deserves (visit www.AliceBrock.com <http://www.AliceBrock.com> ). This tune and several other new compositions lend themselves to the “bluesgrass” sound that has morphed from several gigs I’ve done with members of the Foggy Hogtown Boys and other local bluegrass players. It’s like bluegrass slowed down and dropped into a minor key. Of course I’ve got some rockin’ tunes to record with the fabulous Blainettes and maybe a track or two with my son the DJ (we call it BLAIN! BLAIN!)
Women’s Blues Revue, Downchild and Massey Hall
Donna Grantis and Rachelle Van Zandt were the two surprises of the night for me. These two women have raised the bar for female blues guitarists...both virtuoso players...and they’ve got soul. Mind you, I don’t think either could do the demanding "utility" job of Marg Stowe, house guitarist for the band for many years. Everybody agreed, all the performances were exceptional. There wasn't a weak set by anyone. Carrie and Suzie each did a song too and raised the roof. Some of my friends thought Sass Jordan was a little out of place, but Shakura’s set was a hard act to follow, for anyone short of Aretha herself. If you hear the show on the radio, you might even hear my name come up in the intro as Shelagh Rogers read a quote from me about Carrie's performance at a previous show. She referred to me as "the great bluesman Brian Blain" and I told her I told her I’m putting that on my website!
Backstage at the WBR (the stage door, to be precise) was the first time in recent memory that someone felt the need to calm me down. Anybody who knows me will tell you I am the most mild-mannered guy you will ever meet, but…well let me tell you the whole story: I arrive at the Massey Hall box office to see the Women's Blues Revue and get tapped on the shoulder by a west coast blues radio guy who is supposed to be on the guest list but isn't. He's asking me to help out and I go on a mission to find the prez to arrange the comps. I know from experience that when you’re dealing with Massey Hall you have to do it “by the book.” I can't find the prez at the bar so I head out to the stage door to see if he's backstage. I’m usually hanging backstage at this event because the band are long-time friends and bandmates but this time I was just trying to make my way to my seat to enjoy the show. The "gatekeeper" at the stage door at Massey Hall is a grim character who’s been there forever - probably because he does his job so well. Nobody gets past Gene unless they are on *his* list. I'm sure he would turn away the President of the United States if he wasn't on the list. Meanwhile, I just wanted to get a message to the boss! Anyway, after repeated run-arounds and conversations to various locations on an antiquated walkie-talkie system where he had to repeat the name three times to be understood, a couple of Blues Society staff had came back to the stage door. Gene was calling the office and when I tried to tell him that the guests were in the box office, he said something like "I can't do this any faster, sir" and I responded "I think you could"...well that's when I was told to "take it easy". I guess I might be getting a little ornery now that I’m pushing 64. You have been warned.
Just the week before, I was reminded that my ladder does not extend to the lofty heights of Massey Hall when I had to go through three publicists in order to schmooze my way into the big Downchild 40th anniversary show, which in fact was sold out. Neither the publicist for the Hall or for the band had any more comps but alas a wonderful young lady at the record label came through for me. Downchild gave an impeccable show, of course - worthy of the big stage at Massey Hall. I was in the balcony for Downchild and I think it sounded better there than the third row, where I sat for the Women’s Blues Revue. The vocals sounded boxy and the bass did not have much definition (considering it was the phenomenal Brandi Disterheft playing it). Can't remember if the lighting was any better at Downchild, but where was the light man at the Women's Blues? It seemed like all the lights were on, all the time, and it's too bad because the ladies were looking fabulous and it would have been great. There was one dramatic scene where Shakura S'Aida slithered onto the stage - slow and cat-like while Donna Grantis was playing a great solo. It would be great for the photographers but in their old-fashioned way, Massey Hall still forbids picture taking and enforces it aggressively.
Overqualified still spinning:
I was happy to see one of my tunes on Danny Marks’ playlist this week, and they still crop up here and there. The days of being in the “rotation” are over, I’m afraid, but I still get the occasional encouragement and this month it came in the form of two “fan” letters, both from CBC listeners in the far north (hey, I thought Jurgen Goth was the only CBC show that ever played me but maybe I’ve got a champion in the Arctic). One letter was from Yukon and the other from Nunavut and both were from ex-pat Townshippers who remembered the Terrace Inn and had great memories of that lakeside bar in Quebec where I played with the band Oliver Klaus in the mid-seventies. One of the letters was forwarded to me by the band leader, Maurice “Oliver Klaus” Singfield who has suggested I come down next year and take part in their annual reunion concert. Maybe I can parlay that into a Quebec tour!
I'm also learning a couple of Stompin Tom songs so I can be part of a Stompin' Tom tribute night in February. And last week I was at an agent's office and the owner of the agency liked my beard and mentioned they were looking for Santa Clauses, but no, I have to draw the line somewhere.
Out and About:
I was supposed to go to the John Mayall show, had it all arranged, but I didn't pay attention to the start time (7pm, WTF?) and it would have been over by the time I got there. I heard some great reports...especially about his new guitarist (Rocky Athas?) I remember seeing Coco Montoya for the first time when he played with Mayall at Ontario Place. I continue to be amazed by Coco, but I'd like to see this new guy. There were lots of other great shows on my calendar in November, but I missed most of them. I did get out to the Sky a couple of times, and saw Lily Sazz's band, Groove Corporation rocking the house and then last Friday I took the ex-wife dancing and where better than Paul James Band at the sky. It’s been great having this regular Tuesday gig at Highway 61, but I had to miss a lot of great shows this month including John Showman’s CD release, the Socan Awards, Paul Reddick and lots of other faves.
Thelonious Monk’s advice for musicians (via Steve Lacey):
Just because you're not a drummer, doesn't mean that you don't have to keep
time. Pat your foot and sing the melody in your head when you play.
Stop playing all those bullshit notes. Make the drummer sound good.
Don't play the piano part, I'm playing that. Don't listen to me, I'm supposed
to be accompanying you.
Don't play everything, let some things go by. Some music is just imagined.
What you don't play can be more important than what you do play.
A note can be as small as a pin or as big as the world, it depends on your
imagination.
Stay in shape! (When the gig comes, you have to make it.)
What should we wear tonight? Be as sharp as possible.
Looking for a Google Genius:
Much as I would rather be playing guitar, the demands of being a part-time (desktop)publishing mogul are still taking up a lot of my energy but my son the DJ has been pitching in with the “family business” and I’m making greater use of some of the wonderful online publishing tools being developed by Google. To that end, I am searching for someone who is more comfortable than I with Google Code and Google Gadgets and thought I would mention it to my immediate circle before I start trolling in the tech sector. The idea of using open source software and free utilities to service non-profit arts organizations does not necessarily appeal to most entrepreneurs and venture capitalists, but if you happen to know an altruistic techie, send him over.
Thanks for reading this far. Most of this is extracted from my blog at http://torontobluesdiary.blogspot.com.
If you've enjoyed this Blainletter and you're not a subscriber, go to http://brianblain.fanbridge.com to sign up and get one every month or so.
Also, I loaded up a bunch of pics (over 75) into the "Musical Friends" gallery on my Facebook Fan Page. Click over to http://www.facebook.com/pages/Brian-Blain/70605028420 and if you haven't become a fan yet, there's a button for that, too. And now you can even follow me on Twitter.com/brianblain
Monday, November 30, 2009
Women's Blues Revue & other stuff
This month the gigs have been going away as fast as they show up. There's
band gig on the calendar for the end of January but I hestitate to advertise
it because the venue is not convinced they will continue presenting live
music. Meanwhile the Tuesday Blues Campfire at Highway 61 has been going
great. Interesting guests...many of them part-timers or hobbyists but I love
having them around the campfire and making them sound better than they ever
have. Many pros drop by too, Doc Mclean & Big Dave dropped in on their
cross-country "Century" tour, Robin Banks raised the roof, Son Roberts who I
find very musically simpatico, Roberta Hunt and Martin Aucoin have brought
their keyboards on occasion and last week I had Professor Piano himself,
Scott Cushnie. I was just watching Martin on TV with his Dylan band, The
Dylan Tree. Everybody loves the barbeque and the campfire is much less of a
"show" than other open stages. We tend to stretch out the songs and play
lots of solos, but people dig it. And there's no break. Who ever heard of a
break at the campfire? We just keep passing around the mike and the guitar
and the bass and we play for three hours then it's over
band gig on the calendar for the end of January but I hestitate to advertise
it because the venue is not convinced they will continue presenting live
music. Meanwhile the Tuesday Blues Campfire at Highway 61 has been going
great. Interesting guests...many of them part-timers or hobbyists but I love
having them around the campfire and making them sound better than they ever
have. Many pros drop by too, Doc Mclean & Big Dave dropped in on their
cross-country "Century" tour, Robin Banks raised the roof, Son Roberts who I
find very musically simpatico, Roberta Hunt and Martin Aucoin have brought
their keyboards on occasion and last week I had Professor Piano himself,
Scott Cushnie. I was just watching Martin on TV with his Dylan band, The
Dylan Tree. Everybody loves the barbeque and the campfire is much less of a
"show" than other open stages. We tend to stretch out the songs and play
lots of solos, but people dig it. And there's no break. Who ever heard of a
break at the campfire? We just keep passing around the mike and the guitar
and the bass and we play for three hours then it's over
And now for something completely different: I'm currently learning a couple
of Stompin Tom songs so I can be part of a Stompin' Tom tribute night in
February. And last week I was at an agent's office and the owner of the
agency liked my beard and mentioned they were looking for Santa Clauses, but
no, I have to draw the line somewhere. Actually I probably don't have the
tempermant for it anymore. I've lately been accused of being "mean" (the
accusation comes from the ex-wife but I still take it to heart) and last
night I think was the first time I ever heard someone say "Take it easy,
Brian". Let me tell you the whole story: I arrive at the Massey Hall box
office to see the Women's Blues Revue and get tapped on the shoulder by a
west coast blues radio guy who is supposed to be on the guest list but
isn't. He's asking me to help out and I go on a mission to find the prez to
arrange the comps. I know from experience that this will not be a
straightforward operation and when I can't find the prez at the bar I head
out to the stage door to see if he's backstage. The "gatekeeper" at the
stage door at Massey Hall is a grim character called Gene who has been doing
that job forever - probably because he does it so well. Nobody gets past
Gene unless they are on *his* list. I'm sure he would turn away the
President of the United States if he wasn't on the list. Meanwhile, I didn't
even want to get backstage, I just wanted to get a message to the boss.
(even though I've ended up backstage at most of these events, sometimes on
duty, sometime not. Most of the Women's Blues Revue band current or former
bandmates). Anyway, after repeated conversations to various locations on an
antiquated walkie-talkie system where Gene had to repeat the name three
times to be understood. By then a couple of Blues Society staff had come
back to the stage door abd Gene was calling the office and when I tried to
tell him that the guests were in the box office, he said something like "I
can't do this any faster, sir" and I responded "I think you could"...well
that's when I was told to "Take it easy". I guess I'm getting ornery as I
approach old age. You have been warned.
The week before, I was also reminded that my ladder does not reach as high
as Massey Hall when I had to go through three publicists in order to
schmooze my way into the big Downchild 40th anniversary show, which in fact
was sold out, but neithe the publicist for the Hall or for the band had any
more comps but alas a wonderful youg lady at the record label came through
for me. Downchild gave an impeccable show, of course - worthy of the big
stage at Massey Hall. I was in the bacony for Downchild and I think it
sounded better than third row. The vocals sounded boxy and the bass was
Muddy. Haven't heard any comments from the band but in the past they've
thought it was too loud on stage. Can't remember if the lighting was any
better at Downchild, but the Women's Blues Revue had little or no light man.
All the lights on, all the time, and it's too bad because there were many
opportunities for lighting effects. There was one dramatic scene where
Shakura S'Aida move onto the stage - slow and cat-like while Donna Grantis
is playing a great solo. It would be great for the photographers but in
their old-fashioned way, Massey Hall still forbids picture taking and
enforces it aggressively.
Donna and Rachelle Van Zandt were the two surprises of the night for me.
These two women have raised the bar for female blues guitarists...virtuoso
players...and they got soul. Mind you, neither could do the demanding
utility job of Marg Stowe, house guitarist for the band for many years.
Everybody agreed, all the performances were exceptional. There wasn't a weak
set by anyone. Carrie and Suzie each did a song too and raised the roof. If
you hear this on the radio, you might even hear my name come up in the intro
as Shelagh Rogers read a quote from me about Carrie's performance at a
previous show. She calls me "the great bluesman Brian Blain" and I told her
I was going to use that quote!
Other stuff I've seen and plan to see: I was supposed to go to the John
Mayall show, had it all arranged, but I didn't pay attention to the start
time (7pm, WTF?) and it would have been over by the time I got there. I
heard some great reports...especially about his new guitarist (Rocky Athas?)
I remember seeing Coco Montoya for the first time when he played with Mayall
at Ontario Place. I continue to be amazed by Coco, but I'd like to see this
new guy. There were lots of other great shows on my calendar in November,
but I missed most of them. I did get out to the Sky a couple of times, and
saw Lily's band, Groove Corporation rocking the house and then last Friday
took the ex-wife dancing and where better than Paul James Band at the sky.
Tuesday, November 24, 2009
Quote of the Day
There are moments where the connection between one full heart and the next
is so close and quick that singing is the only possible expression. I really
believe that the spontaneous intimacy and joy of moments like that can show
us what we are for: it's like having, just for an instant, the attention of
the universe, discovering itself. ~Alexander Waddell~
is so close and quick that singing is the only possible expression. I really
believe that the spontaneous intimacy and joy of moments like that can show
us what we are for: it's like having, just for an instant, the attention of
the universe, discovering itself. ~Alexander Waddell~
Saturday, November 21, 2009
Downchild at Massey Hall
After a solid solo set from Colin Linden with some fine pingerpicking,
Downchild took the stage and gave their (typically) flawless performance
with guest appearances by Dan Aycroyd, Colin James and young wunderkind
Jonah, from Montreal. Packed house, they were hanging from the rafters.
Downchild took the stage and gave their (typically) flawless performance
with guest appearances by Dan Aycroyd, Colin James and young wunderkind
Jonah, from Montreal. Packed house, they were hanging from the rafters.
Monday, November 9, 2009
Pick A Niche And Dominate It
Indie artists must break from a niche. That niche must be well delineated
and can be very very small and still be effective. The mistake most artists
make is making a pop record that does not have a niche to break out of.
and can be very very small and still be effective. The mistake most artists
make is making a pop record that does not have a niche to break out of.
The adage, think globally act locally can be re-stated think mainstream, act
niche. The newer your niche, the greater your chance of becoming identified
with it. Almost every Tommy Boy superstar broke out of a niche they
dominated if they did not invent. Examples: De La Soul: hip hop hippies,
House of Pain Irish hip hop, Queen Latifah: first proud and powerful
African American woman in hip hop, Ru Paul, first drag queen with dance hit,
and so on.
So whatever you genre, sub-genre or micro niche there will usually be media
that dominates that view of reality. If you are a militant political artist,
you would launch in the niche militant political blogs and magazines to
establish a beach head. If you a rapper that rapped about uzis and AK¹s
maybe your entry would be blogs and mags about guns and ammo. David Hazan
mentioned a band that was way into Anime and they get written up in the
Anime blogs and make a living playing the Anime shows. Will they be able to
cross to mainstream? Maybe not but they can be the lords of their niche and
make a good living doing that.
So rather than being specific, I would point to blogs and mags in your
micro-niche that might not even be music-oriented. You may be more news to a
non-music site and reach a core audience that way than trying to get
Pitchfork to discover you. There are also opportunities to perform at
industry shows in non music industry events and get paid much better than
you would in the glutted music market.
In other words make your presentation and target audience as unique as
possible so you can be the king of that niche, then target the non-music
publications (both on line and off) and the events in that niche. You will
be building fans, gaining awareness and making money before you even attempt
to cross into the ³music industry.²
- Tom Silverman
(from The Indie Maximum Exposure 100 was created by a team of industry
experts and by artists that are making a full-time living from their music.
Visit our friends at HypeBot to obtain a PDF of the Indie Maximum Exposure
100.)
Advice from musicians from Steve Lacey (chanelling Thelonious Monk)
Just because you're not a drummer, doesn't mean that you don't have to keep
time. Pat your foot and sing the melody in your head when you play.
time. Pat your foot and sing the melody in your head when you play.
Stop playing all those bullshit notes. Make the drummer sound good.
Don't play the piano part, I'm playing that.Don't listen to me, I'm supposed
to be accompanying you.
Don't play everything, let some things go by. Some music is just imagined.
What you don't play can be more important than what you do play.
A note can be as small as a pin or as big as the world, it depends on your
imagination.
Stay in shape! (When the gig comes, you have to make it.)
What should we wear tonight? Be as sharp as possible.
Monday, November 2, 2009
Where is the audience?
Here I am pictured with JW-Jones and Jesse Greene, winner of Ottawa's Blues
Challenge competition. We had just been jamming at a club called Irene's in
Ottawa where I landed to attent the Ontario Council of Folk Festivals
conference in Ottawa. The OCFF had five or six hundred earnest folkies
showcasing mostly to themselves and the odd festival director or booking
agent. I had not arranged any showcase for myself (I can't swallow the
pay-to-play thang, even though I know it can help with your "career
development.") I did participate in the jams, though, so I was at a couple
of campfires where there was a small circle of musicians in a very large
room (with no audience to speak of) then a late night jam in the hotel bar.
Trevor Mills was the host & bass player. Michelle played drums and Raven
played guitar. There were some guests floating in and out, Coco Love Alcorn
and a guy who's quite well known but damned if I can remember his name. And
some guy wheeled in a set of vibes and that was cool. Luke Doucet was there
too but he didn't play. I had a few words with him, relating how we had both
been taken into the extended Russell-Titcomb family. The music rocked but
there was hardly anybody in the room. But I guess there were lots of people
hanging in the lounge area off to the side because the next morning at
breakfast I had at least three people complimenting me on my playing...and
two of them were folks that might just be able to help with the "career
development".
Challenge competition. We had just been jamming at a club called Irene's in
Ottawa where I landed to attent the Ontario Council of Folk Festivals
conference in Ottawa. The OCFF had five or six hundred earnest folkies
showcasing mostly to themselves and the odd festival director or booking
agent. I had not arranged any showcase for myself (I can't swallow the
pay-to-play thang, even though I know it can help with your "career
development.") I did participate in the jams, though, so I was at a couple
of campfires where there was a small circle of musicians in a very large
room (with no audience to speak of) then a late night jam in the hotel bar.
Trevor Mills was the host & bass player. Michelle played drums and Raven
played guitar. There were some guests floating in and out, Coco Love Alcorn
and a guy who's quite well known but damned if I can remember his name. And
some guy wheeled in a set of vibes and that was cool. Luke Doucet was there
too but he didn't play. I had a few words with him, relating how we had both
been taken into the extended Russell-Titcomb family. The music rocked but
there was hardly anybody in the room. But I guess there were lots of people
hanging in the lounge area off to the side because the next morning at
breakfast I had at least three people complimenting me on my playing...and
two of them were folks that might just be able to help with the "career
development".
This week I went to several events and they were all under-attended. Amazing
music, and no one to hear it. Danny Brooks was having a CD release at the
Sky Restaurant & Lounge - I gave the Sky a little bumpf in the MapleBlues
but it wasn't much help for Danny's night - I'm sure he was disappointed
with the turn out. A 9-piece band with horns and the Levy sisters, Papa John
on guitar and Lance Anderson on organ. What a great show!
Alex Pangman was doing a "pre-launch" media event (which was mostly about
here successful recovery from a double lung transplant) and she had the
right idea: she made a podcast and you can see it at http://ow.ly/xFM3. She
did a few tunes with Peter Hill and that fantastic fiddler Drew Jurecka.
Drew and I reminisced about playing together on a subway train (yes it was a
real gig, and a good paying one at that).
After that I headed over to the Gladstone for a piano extravaganza (they had
two grand pianos on the stage) which featured Julian Fauth, Kenny "Blues
Boss" Wayne and a couple of "old timers", Bobby Blackburn and Curly Bridges.
The old guys did the most predictable, generic tunes..."Caledonia", "Got Me
Running"...maybe even "Sweet Home Chicago." This was all destined for a CD
and I'm sure they got some great tracks. Chris Whiteley was leading the band
and Diana Braithwaite made a guest appearance - I had the pleasure of
handing Diana a newsletter, hot off the press, with her picture on the
cover. This issue had all the nominees for the Maple Blues Awards and pretty
well everyone on that stage was a nominee...and yet, you have to wonder if
they would have made any money on that show. Not with the cartage/rental of
two grand pianos! Anyway, they were recording an album so they had a budget
but when you look at all the promotion they did, plus the "marquee value"
they should have had twice as many people. Then a couple of nights later,
Margaret Stowe invites me to a last-minute gig at Free Times and there's
hardly anybody. Amazing music and no one to appreciate it. I sat in for a
few tunes and had a great time.
The Tuesday Campfire is not exactly packing them in either - sometimes we
have more players than audience. But there always ends up being a few tables
and I guess they must consider it worthwhile because we've been doing almost
4 months now and they haven't shut me down yet. But Every Tuesday I wonder
if this is going to be the last. Catch it while you can!
Sunday, November 1, 2009
ADISQ
Through a rather unfortunate turn of events I have ended up with a TV in my
room, having been TV-less for many years. There's a reason I didn't have a
TV, and now I'm remembering why. I tend to give the TV "first refusal" on my
time - always checking to see if there's something interesting. Usually
there isn't (I don't have cable) but tonight I caught the last part of the
ADISQ Awards gala (Quebec's version of the JUNOs) and what a moment in
Quebec Music history to see Renee Martel up at the podium accepting the
award for best live show of the year. She was overwhelmed and I knew why
when she said "I've been in this business 57 years and this is the first
time I received a nomination." I remember her as a child star, appearing on
noontime TV show hosted by her father, a local country & western singer in
Shrbrooke. As a teenager, she had a hit record with a song composed by Russ
Kelley (yes, the same Russ Kelley who now heads the music section at Canada
Council). Following her, the "grand dame" of Quebec music, Ginette Reno won
the next two trophies and proclaimed (pardon my rough translation) "Grandma
is still going strong" and finished with something like "now I'm going to go
get shit-faced!"
room, having been TV-less for many years. There's a reason I didn't have a
TV, and now I'm remembering why. I tend to give the TV "first refusal" on my
time - always checking to see if there's something interesting. Usually
there isn't (I don't have cable) but tonight I caught the last part of the
ADISQ Awards gala (Quebec's version of the JUNOs) and what a moment in
Quebec Music history to see Renee Martel up at the podium accepting the
award for best live show of the year. She was overwhelmed and I knew why
when she said "I've been in this business 57 years and this is the first
time I received a nomination." I remember her as a child star, appearing on
noontime TV show hosted by her father, a local country & western singer in
Shrbrooke. As a teenager, she had a hit record with a song composed by Russ
Kelley (yes, the same Russ Kelley who now heads the music section at Canada
Council). Following her, the "grand dame" of Quebec music, Ginette Reno won
the next two trophies and proclaimed (pardon my rough translation) "Grandma
is still going strong" and finished with something like "now I'm going to go
get shit-faced!"
Saturday, October 31, 2009
You can't give it away
I just got another Google Alert pointing me to a blog where some
over-zealous blues fan has ripped all his his favourite blues albums (and I
have to compliment him on his graphic treatment of the album covers - tasty
3D effect) and offers them as free downloads. Part of me is flattered to be
included in such illustrious company but my the business side of my brain
(all 10%) feels rather ripped off. I tried to download my own own album but
got a message that all the "free" channels were occupied and advising me to
purchase a "premium" account. This is the future of music distribution IMHO.
People will pay a set fee to access all the music they want, but hopefully a
little bit of that will trickle down to the creators...
over-zealous blues fan has ripped all his his favourite blues albums (and I
have to compliment him on his graphic treatment of the album covers - tasty
3D effect) and offers them as free downloads. Part of me is flattered to be
included in such illustrious company but my the business side of my brain
(all 10%) feels rather ripped off. I tried to download my own own album but
got a message that all the "free" channels were occupied and advising me to
purchase a "premium" account. This is the future of music distribution IMHO.
People will pay a set fee to access all the music they want, but hopefully a
little bit of that will trickle down to the creators...
Another similar site I discovered giving away my music had a rather unique
approach: First they would offer it for free. Then, if there was any demand
(downloads), a small price would be added (.11 on this site). Then if
anybody bought it at .11, the price would be boosted to .20 and would
eventually work its way up to .99. Also a worthy approach, if any of that
$$$ made its way to the creators.
I got a little self-conscious when I read a post from a noted music
journalist/musician in this town who referred to "self-centered musical
blogs". First, to get some self-centered stuff out of the way, I was happy
to be the "house musician" on Whistle Radio last Friday. I went with the
intention to play a lot of new songs, but I ended up pulling out songs that
tied in with the topic being discussed. I got a request for "The Story of
the Magic Pick" and took a moment on a break and tried to remember the words
but they are long gone. Last time I wanted to do this tune, I had to dig up
the old 45 which had the lyrics printed on the back. I guess I better check
it out again.
Wednesday, October 14, 2009
Thursday, October 8, 2009
Around the Campfire
Tuesdays are full of surprises since I started the Blues campfire at Highway 61 BBQ. Last Tuesday I looked up at the doorway (which is right in front of the stage) and it was mostly filled by the legendary Big Dave McLean. Right behind him was Doc MacLean. They're one-third of the way through their cross-Canada "Century Tour" - playing over 100 dates. They were not looking the worse for wear - yet! It was a delight having them around the Campfire. Rita di Ghent and her partner Sam "The Shark" were also in the house, Rita getting right into it warming her hands over the ersatz campfire. There was also another McLean at the Campfire, Dan Mclean, who demonstrated his own unique take on some R&B classics.
Monday, September 14, 2009
Quote of the Day
"MTV is about fame. For a while there, the two merged, music and fame were
interwoven. But then fame came to rule. 'Look good, be a pawn in our game
and we'll hook you up with songwriters and stylists, we'll create a product
that will make you famous!" - Bob Lefsetz
interwoven. But then fame came to rule. 'Look good, be a pawn in our game
and we'll hook you up with songwriters and stylists, we'll create a product
that will make you famous!" - Bob Lefsetz
Sunday, September 13, 2009
Quote of the Day
"The joy of playing is liberation. The joy of practicing is concentration."
- Kenny Werner
- Kenny Werner
Friday, August 21, 2009
re-learning
OK, this is bad. At my Campfire last Tuesday I decided to pull out a song I
hadn't done in ages - One Way Ticket - and would you believe I just
couldn't remember how it went. That's bad. I'm going to have to go back and
listen to the CD. This is like when I forgot the words to "The Story of the
Magic Pick" and had to get the lyrics off the sleeve!
hadn't done in ages - One Way Ticket - and would you believe I just
couldn't remember how it went. That's bad. I'm going to have to go back and
listen to the CD. This is like when I forgot the words to "The Story of the
Magic Pick" and had to get the lyrics off the sleeve!