Last week we finally got into the studio to do some tracks for the next album. I did the basic tracks with Victor Bateman on bass (he played on my first album) and Michelle Josef on drums and percussion. Richard Bell came in to play keyboards on the second day and Paul Reddick also made a guest appearance - more to come.

Michelle and I went up to the Studio at Puck's Farm over six months ago and we recorded several of the new tunes but the tunes were not settled and the grooves I though too frantic. Now the tunes have matured a bit, even got road tested on a couple of tours, and they seem a bit more relaxed now.

...though I was hardly relaxed myself with a million other things going on - plus the week before Christmas, what was I thinking. Then I had the small but irritating rash on my right thumb so I had to use a flat pick on the first day instead of the usual "country blues fingerpicking" that I'm so famous for...(ha, ha) Stay tuned for more updates. Let' see, do I have any tips so far...

...well, always make sure there's some food around.

2



Then just when I could play with the thumb again I broke the thumb nail and it is now piching the skin everytime I apply a little pressure. We may have to do some guitar overdubs though the album is pretty live. We recorded at Paul Benedict's studio - with Paul (sometimes know as "Eggs") at the helm. He's got big ears and has been my biggest supporter.



I was feeling a certain presssure to get this project going and since I was moving a little too slow when left to my own devices, I brought in David Baxter to act as producer. I'd only met David once but I heard great things about him from different people and then I heard the new Bob Snider album he just did and that clinched it.



I thought we'd spend a little more time with the songs but I had said I wanted to deliver this album before the end of the year and he proceeded to put the schedule in place and here we are in the middle of it.



I've been less than totally prepared but then again, I never will be so it's time to "print one" and give fy friends and fans a taste of Brian's mellow side. I found the first album too aggresive. My goal now is to produce a recording of myself that I can listen to without cringing. Something more relaxing.



Like just about every singer, I can't stand the sound of my own voice on tape (or now, digital) That's alright, I'll get over it.



I felt "underprepared" although I was told I didn't need to supply charts for all the songs since we had already played them with most of these musicians at one time or another. They said charts were uncessary because this was blues session but they would have been good to have. I had the words to each song for everybody, but when Richard Bell arrived, we were a little embarrased but ultimately whispered the melody in his ear.



(still trying to remember wjhat else I learned from this)





For bio info and some sound clips of the first album visit my official web page at Northern Blues

What a week it's been. Not just my own musical breakthroughs (see below) but it's been sheer Toronto Blues/rock history. In the space of seven days, we've seen albums released by Mainline, Ronnie Hawkins and the Cameo Blues Band.



The Mainline release was at a new venue called club 279 (?) above the Hard Rock Cafe on Yonge St. It's a great, room, and that was my first time there. I don't know if they were charging at the door, they were certainly trying (unsuccessfully) to get people to check their coats.They were on stage, sitting down, ofcourse - they were know as the "sit down" band that plays "sit down" blues. I think the "sit-down" was more Mendelson than McKenna... Joe wasn't there and I suppose had nothing to do with it. After the set I went up to Ted Purdy and asked him if he remembered the day he auditioned for the band thirty years ago. I asked him if he played a Rickenbacker bass back then annd he did! Then I asked if he remembered lending it to this bearded guy who was also auditioning but had no bass. He did remember the incident and, of course, I was the guy with the beard. I told how I was in Toronto back then (1973) producing an album for Fraser & DeBolt for CBS Records and we had just finished a session with Joe guesting. If I remember correctly, Joe headed directly to the auditions from the studio and I just tgged along. To his credit, Ted got the gig. And went on to a long association with Joe, more than the others. Now I'm starting to wonder if I remember correctly about Ted being so willing to lend me his bass...Nah, I'm sure he was a real good sport about it. He's a corporate lawyer now.



Wish I had stuck around to say hi to the guys - at least the ones I know. Bob Adams was playing harp. He's a new addition but fits in great. I only met Mike McKenna a few times - starting back in '71 where he borrowed my '59 Strat for a while.



By the end of the 70's there were a few more great blues bands in Toronto and one of them was the Cameo Blues Band who were the house band at the legendary Isabella Hotel. Last night they too celebrated a new CD, a revival of sorts. I had never heard the band live, probably because I arrived in T.O. just as the Izzy was winding down. The were a little tighter than Mainline, I have to admit, and they put on a great show. I was standing at the back between Michael Fonfara and Rod Phillips, two of the top B3 players in town and they were in awe seeing their mentor at work. He's a little rougher than those two but they obviously learned as lot from him.



On the week-end, there was a huge all-star event at the colliseum in Hamilton for the launch of the long awaited Ronnie Hawkins CD (long-awaited? I *still* haven't heard it. Paul Benedict, who is recording my new album right now, was Ronnie's sound guy for five or seven years...a long time with Ronnie Hawkins, I'm sure. They called him "Eggs" Benedict.



Paul has been recording me for months witrh different guitars and amps and amp-simulators and we are getting to the main stretch - more on the recording in the next post.

I was just sitting back on the couch listening to the new live album by Mainline. It sounds fabulous from the next room, tighter than what I heard live when I just dropped by the Hard Rock Cafe where they were having their CD launch. They're allowed to be loose - they're Mainline for fuck's sake. I split right after the first set and didn't have a chance to say hi to Mike or Bob Adams, their harp player who is kind of a new kid on that block. I met bob when he was part of the crew filming the Danny Marks Stormy Monday blues jams at Albert's Hall.

Back to the Mailnline story, I was so happy to meet Ted Purdy. I reminded him that 30 years ago we were both auditioning to play bass with McKenna Mendelson Mainline. He must have been very young (so was I, I guess) but he had a bass (I remembered it was a Rickenbacker) and I didn't. Anyway I reminded him how much I appreciated it when he let me use his bass and congratulated him on getting the gig. When I suggested he had benefiited with a lot of work with the band he corrected me and said "with Joe" and I guess that's where I've seen his name over the years.



Now I'm thinking maybe he wasn't so thrilled to let a stranger (and competitor) use his bass. Maybe there was some pressure because, I think I arrived with Joe himself. If I recall correctly, we came directly from a recording session I was producing for the folk group Fraser & DeBolt. Joe had played some harmonica on the album - he and Daisy had been friends from her first days in Toronto. That project was the first paying customer at Manta Sound - then the brand-new, starte-of-the-art, money-is-no-object ultimate recording studio. And now it's been gutted - the condo contractors are probably using it as a workshop & office until it, too, gets torn down.



Anyway I was glad I made it to a bit of the Mainline Party. I couldn't believe the venue! It's above the Hard Rock Cafe and the inside glass walls look down on the legendary restaurant , where there's even a radio booth where they broadcast "classic rock radio". Big stage, lights, large capacity room - and I hear they've been packing it for the Saturday afternoon matinee - Mary deKeyzer's Melody Ranch.



All week end - since Thursday - I've been getting to shows just in time to hear the closing chord and thundrous applause. Thursday was a group from cuba & montreal and Friday was a french/afro band. I would have loved to see both, but it was not to be. Then on Saturday - I should have gone to see Mitch Ryder and The Detroit Wheels at Healeys. The publicist had even given me a pair of tickets...and I forgot completely. I can't keep track of these things. I can hardly keep track of my own gigs!



The reason I was delayed on Thursday was because I dropped in to the Tranzac to see how the Thursday nights were going now that they replaced my Acoustic Blues nights with some very scronky jazz. Well the scronk did seem to be doing a little better that I - especially getting out young people (who tend to drink other than tea and a lot of it). Saw Victor Bateman sitting in with the group on bass and I remembered what a pleasure it is to play with that gentleman. Saturday night I went to hear Johnnie Johnson, the piano player behind all those Chuck Berry hits. There he is at 81 - still having to get out and play the blues circuit. It makes you wonder. I hope he's doing it because he wants to. The performance had me wondering how much he *wants to*. I took a walk down to Grossmans and there I heard a set by Mark "Bird" Stafford - playing and singing better than I've ever heard him. He had that hot young guitarist Darren Poole with him. I'll tell more about it later - or not. Time to crash. We4 started pre-production on the 1st of December and I intend to have an album by the end of the month. Wer'll keep you informed.

Mark wrote:

of the women's blues revue!!

can someone please share the wealth.......and let us know how it went.....



*****You missed a great night, Mark. Here a re-post of my late-night reply on canadianblues-l. Joe Curtis sent me a more detailed review which I won't be able to use in the newsletter (sorry, Joe) but maybe he'll post it here - (or maybe he has already - Joe, is that *you* posting to mapleblue under the pseudonym music1won???) BrianB



At 11:16 PM 11/23/02 -0600, you wrote:

>Could anyone provide a quick recap/review on the Women's Blues Revue show.

>Could not afford the airfair from Manitoba to see it in person.



Manitoba's own Tracy K really got things off to a great start and Dawn Tyler Watson brought the house down at the end. I was especially delighted to see Diana Braithwaite on the stage doing her thing with a voice that is so distinctive and emotive that she could go away for ten years and you would remember it the minute you heard it again (which may have been the case for some in the audience). Diana has been out of the scene for a while but the audience was immediately swept under her spell. She followed Anne-Marie Woods was making her debut as a solo artist - and boy does she have a voice! You wouldn't believe it was her first time fronting a band. There was not a weak set in the whole evening, though some may have thought there were too many slow tunes, but it was an older crowd and they appreciated the quiet stuff as much as the shouters. Serena Ryder made a lot of new fans and sold a whack of CDs. She nailed the Etta James classic "At Last". Lee Aaron gave a great performance, too and must have surprised many of her old fans with the "softer side" of the former "metal queen". I didn't see all of Georgette's set but she owns that stage when she steps up and, like Diana, has a such a distinctive voice that you would recognize her on a car radio 2 blocks away. She was the evening's favourite to at least two people I spoke to. But there was no way to pick favourites among such a bevy of talent. Even Suzie Vinnick's one tune at the start of the second set many hearts aflutter, too, and was a big after-show buzz.



Many of the singers referred to family in the audience and the whole thing has a real "family" vibe. The WBR Band has become a de-facto family and this is their annual get together. It's a real love-in and mutual admiration society. Colleen Allen who missed last year's show was welcomed back like a long lost sister - and boy did she play her heart out. Her solos melted the audience. Someone who really helps make it feel like "family" is Shelagh Rogers who was still making friends with everybody at the after-concert party long after most had left. She even got her sister to fly in from Vancouver to see the show! And, despite a grueling schedule, promises to be back next year. Next year I want to hear Shelagh sing more than "Happy Birthday"! (she did a spontaneous a capella version for Holger Peterson).



As we left the Music Hall, I dropped in on Bradley and the Bouncers with my old buddy Professor Piano playing and singing and the lovely Maureen Brown on drums, one of the pioneers of the Women's Blues Revue. After schmoozing a bit at the Swan I drove Canada's pre-eminent music publicist to the Dollar to hear the the last of Duke Robillard's set. Dawn and another group went down to Healey's to catch Sue Foley (and by all accounts, she was rockin'). When last seen, Tracy and Dawn were making their way out of the Silver Dollar (as they were closing up the joint) to head back to the hotel and enjoy a late night snack in their jammies. I wanted to come along but that was not to be. Oh well. What a great blues town this is (I'm sure Winnipeg is fun, too, though a little more chilly).

Just when I thought the production blitz was over (4 newsletters in two weeks) I have to get ready to jump right in to the MapleBlues December issue. Tomorrow night I've got a gig. Saturday night is the Women's Blues Revue which I would not want to miss, Sunday it's Pat Carey's CD launch, then Monday, we have to put together a newsletter.



I have to start going through the pile of listings tomorrow because Jacquie, my assistant, just did something to her knee and is in excruciating pain. She's been to the emergency ward and tonite she called to say she won't be able to help with the listings. Oh, woe is the Toronto Blues community now...no one could be as meticulous as Jacquie. Let's see who falls through the cracks



I took a moment after speaking to her to get into the right state of mind for reiki - did the Cook's Hook-up (left ankle over right ankle, left hand on right thigh, right hand over on left thigh, tip of tongue on roof of mouth) and started thinking of Jacquie, visualizing her left knee (I had to call to find out which knee it was). Then I just put out my hands, letting the reiki energy flow through like I usually do when suddenly my right arm was "pulled" suddenly into a full extension, fingers extended, and it continued to pull me right off the couch at which point I just left my eyes open enough to avoid tripping on anything and it pulled me right across the room, quite quickly, and led my fingers over a pile of papers and dug right in at the back of the desk, trying to get under a speaker. As I was standing there trying to figure out "what's under that speaker" I realized that my hand was resting on an ashtray that had been a favourite of my mother's. In fact it's the only hand-me down from her in that room (if not the house). There isn't even a picture of her in that room (I'm embarassed to say) even though there's pictures of bandmates, friends and my two sisters. The immediate message I read into this is that "she's OK" - which I might not have thought. I had a similar "message-from-beyond" experience from my father which I took as his acceptance that I was playing music (he never approved). You can read/see about that experience on my old Blues Diary on the icomm server. visit http://www.icomm.ca/jazz/b/BD801030.html



This afternoon I dropped by the rehearsal for Women's Blues Revue. Haven't seen some of those girls since last year. Serena Ryder was there rehearsing and as they were leaving her manager turned to her with one of the newsletters and said "look they called you punk folk in here too!" and I had to cringe because I seem to recall that at the programming meeting I heard her being described as some wimpy folksinger and I said (having seen Serena play for the first time at the Peterborough Folk Festival) something like "she's more like punk-folk", thinking of Ani deFranco. Well she did not like being called "punk-folk"(maybe Ani doesn't like it either) (maybe I should forget about putting labels on people) and we had to change it on the website. I hate it when I have to face my incompetence like that - I know, I know, I just do too much. Lat time this happened, I checked the listings in the jazz newsletter and made a special trip to the Rex to see my buddy/bassman Victor Bateman doing a reunion of a famous group he led in the 80s (Vektor). Anyway, I got there and it was Tony Quarington. I had the wrong date in the newsletter...hopeless.



Tomorrow night I'll be doing a special evening in the Main Hall at the Tranzac. I was just running over a few tunes, but I don't think I'll be playing that much because Paul, my sound tech has rounded up a whole crew of musicians from Stratford and I will be the host-with-the-most. I'm sorry I lost my house gig but at the same time I'm glad to have my Thursdays off. It was a good run. I have been replaced by a band that plays very scronky jazz but who apparently have a big student following. Well, it wouldn't take too many students to surpass the bar sales that were generated by my tea-sipping fans. Jeremy Jenkins, who was always at my gigs wrote to say he didn't like the new set up very much. I guess I have to look for another house gig - but now I realize that I'm no good at promoting these gigs. At best, I get out an email on the day before - half the time, I forget to do that.



I hope some people do show up to hear these great kids from Startford.

It's 3am and I'm sitting here sighing a breath of relief that i"m finished with putting out four newsletters in two weeks and get my mind back to music. I should really be working on my album, running over those tunes ...you know, an amateur practices till he gets it right but a professional practices until he can't get it wrong! Homilies Schmomilies. I never had a guitar lesson in my life but the few times I tried to practice something, I did get something out of it. Had to write a song with the lick right away or I'd forget it. And I don't have that many songs and a lot of them use the same licks, too. I've got a great tune called "Just Leave" that uses the boggie-woogie style bass pattern that I learned off a Danny Gatton instructional video.



But I don't care - when I turned fifty, I said to myself I'm not going to end my days making newsletters and websites. I'm going to get the music back in my life because it's good for me to play and because most of the people that hear it feel better too. At least they spend a couple of hours distracted from their daily preoccupations. Then they probably forget me - more so if I was doing the opening set for a phenomenal artist like Harry Manx, as I just did for a couple of weeks last month.



I guess I can blame Harry for the fact that I'm not using this precious time to work on my soon-to-be-recorded tunes and instead messing around with a newly set-up lap slide guitar, just like Harry plays. You couldn't spend that many nights watching him close up without being inspired to try it. I've never played slide or open tunings (in fact I remember that Lorraine from Blue Willow gave me a slide for a birthday present and I never made any effort to figure it out). But this time, I had an extra flat-top guitar hanging around (that's another heavy, sad story) so I bought a "thang" to raise the strings and Harry helped me pick out a proper slide. Now I'm into it, but my son has asked me to lay off, because all that shaky sliding is making him nauseous. He never complains about my playing in the house so I take this as a message that I better not inflict this on anyone for quite a while.



Last week-end I had a lot of musical activity (as (barely)managing editor, I get into a lot of shows for free and for the first time in months, I had a Thursday off. I was doing a Thursday house-gig at the Tranzac for almost a year, with an amazing lineup of guests (link) but not an amazing lineup at the door, unfortunately. Now they're trying scronky jazz on Thursdays and even that is doing better than my blues night. I will continue doing a series at the Tranzac but it will not be every week - rather try to make each time a special event. And here comes one now. Mark your calendars...



Friday, November 22

(in the Main Hall - $5.00 cover)

The The Entire Stratford Roots Music Scene

(well, maybe a few won't be there, probably not Loreena)



Lineup includes: Jamie Randsley, Michelle Hundt, Sophie,





hosted by Brian Blain



Yesterday, as I dropped by the Toronto Blues Society office I found in my mailbox two new blues CD releases. Two Walkers! Joe Louis Walker (releasing his 3rd album in 14 months - I'll be lucky to get 3 albums done in the next 14 years!) and Wailin' Walker, a Vancouver-based guitar hero. Never saw him in Toronto, though he must have played here. Five years back, a band I played with - Blue Willow - shared some tracks on a Peerless compilation CD with Wailin. And this new CD of his is still on Peerless, with the first 3 tracks produced by Fred Xavier. Fred lived in Toronto for a while and from what I remember he was very business-like. I always had the feeling that he was only interested in the two blondes and not the bearded guitar player.



That's my connection to Wailin' Walker - or, more precisely, Peerless Music. Hearing Joe Louis reminds me of the time I came along for the ride with an American label head and his A&R director as they auditioned artists while rolling down the highway in a big SUV. I seem to recall they had considered signing Joe when he was cut loose from Verve (was it Blue Thumb?). But they had discovered that his last two albums had not scanned well - in fact, neither made it near 5 figures. Shocking when you coniser he is one of the leading lights of the blues scene - hope he continues to be.



I just realized, I have the distinction of being his neighbour on the Northern Blues compilation CD, The Future of the Blues. He's on a track with Paul Reddick and the Sidemen from a CD he produced for them a while back. I have a song on there from my first CD. It features one of the all time great piano solos from "Professor Piano" Scott Cushnie - equal to anything from Otis Spann or Pine Top. You can order the sampler at the NorternBlues website - http://www.northernblues.com.



Any way, in my (barely)managing editor role, I get a lot of promo CDs and I get to hang around music industry types. I dare say I know many music movers and shakers (disproving the theory that you make it based on who you know).

It's great to be back in Toronto. Tonight I wanted to get out and hear a new artist called Nathalie Renault. She's from Quebec but I heard about her in Pisek, Czech Republic. I was sitting in the office of UrbanWorld (the booking agency that got me these gigs) and there was a large, attractive colour poster on the wall - and it was ...Nathalie Renault. They were surprised I had not heard of her. Last week, I saw her announced in a press release - she was the opening act for a French "flamenco" guitarist called Serge...

Nathalie played great - doing all original tunes and giving long chatty intros for each song (in French). She would end each intro with "and I offer it to you" . (note to self: treat every song as an offering to the audience)

I stuck around for the guitarist - he had an electric bass virtuso with him and an amazing percussionist. It finished off very much like the Gypsy Kings with only one guitar.



I had a chance to speak to Nathalie and she was pretty surprised when I told her I had just been in Czech Republic myself (she had toured just a little before me). I told her she had just had a great "entree" into the Toronto Market with this concert. Wish we'd had a chance to talk a bit more...



...or I could have dragged her along onmy little "club crawl". As I left the Music Gallery venue, I decided to head to the Silver Dollar even though I hadn' made a note (mental, or otherwise) about who was playing this night. I walked into the club thinking "I like surprises" _ Indeed it was, it was the Paul James Band. These guys have been doing it forever, and even though there was a small house, Paul gave the complete show along with spinning aroud and playing in the audience.



After that, I headed straight down to Chicago's to hearm some of the best harp players in the city. I know, because I've had them all at my Thiursday Blues Nights at the Tranzac which regretable ended last night (with a very thin audience and another fabulou player - Barry Mack). But it's hard to lament over a regular Thursday night gig - after a year of it, I'm ready to "re-claim" my Thurdsdays.



The harp players at Chicagos were all rockin out and not worried about tryin new stuff. The band had to figure out right on the spot - usualy successfully. I heard Mark "The Bird" himself, Dr. Nick, Lil' Bobby, Raoul Bhaneja.

Brian's Bohemian Blues Diary - The jazz gang has headed back to Toronto and I made my way to Hamburg to rendezvous with harmonica ace Butch Coulter and head out on a tour of the Czech Republic. We spent a day in Hamburg and I had a chance to hang out in a cafe on their equivalent of Queen St West, except it was across from a boarded-up historic building that is full of squatters trying to get the city to turn it into a drop-in centre. The city already provided a place a few doors down where junkies could get a clean needle (or methadone). Didn't get to hear any music but walked by the the place where Beatles played before they made it and dropped into a music store in the Reeperbaum, though we had to make our way through street after street of strip bars and sleaze joints.



Next morning, Butch and I got on a train to the Czech Republic. Butch had bragged about the punctuality of German trains but as it turns out this one was delayed due to an accident on the previous train, so we were a half-hour late for our connection but they held the train and we were on our way through the former East Germany into Czech Republic.

Day 3 - Started the day with breakfast in an elegant dining room in the Arbanazi Palace. It's supposed to be a hotel, but we seem to be the only guests. Beautiful tapestries on the wall. Tai chi on the deck. There's an ancient fortress nearby and we took a quick look but didn't climb the road to it because it was raining. Headed off on the drive to Varna. Near Varna, we stopped at a little-known site where there are huge stone pillar-shapes, covered with fossils. It is reputed to be a "power spot" and there was one circle that someone had marked with stone. I felt more of a "vibe" at another spot facing the pillar known as "fertility". No one has been able to figure out how they were formed but it all fits with the theory that this is the area that was under the sea and that suddenly the sea dropped (maybe at the time of the Great Flood?) and they were left standing. Some archeologists are actually searching for the remains of Noah's Ark in the Black Sea. Others Claim the remains of Atlantis are down there somewhere.

At 5pm, we arrive at a government-owned estate by the sea called Evksinograd that is reserved for the exclusive use of diplomats and visiting dignitaries. Military guards at the gate and patrolling throughout. Even the attractive young woman who greeted us at the entrance to our guest house looked like she had some martial arts training. Strict instructions to stay within our designated area - which includes a huge private beach. I found out later that we had been bumped out of the house we were origially going to have because a delegation from France had arrived - and I guess they were more important than a bunch of festival organizers.

That young woman in the lime green suit/uniform was stationed at a small desk at the entrance and everytime I came around the corner, she would snap to attention. I must have driven her crazy when I would start down the stairs, then in my inimitable fashion, remember that I forgot something, go back up, then back down, etc...

We are staying in one of many guest houses on the estate - this place must have been the ultimate in Eastern Block luxury - but sometimes the plumbing is still a bit of a challenge. There doesn't seem to be too much in the way of industry standards for plumbing and it's always hit-or miss which will be hot water (if at all) and trying to figure out where to push to get a toilet to flush is a new game we've developed. Doors open weird and sometimes don't seem to fit right, in some cases because they've been hanging there for hundreds of years but in other cases because somebody just didn't care that's not the case in this place - where shoddy worksmanship would have been grounds for the firing squad if you incurred the wrath of the czar. Our place must have about 8-10 suites plus the large suite for the head of the delegation which included a living room big enough to have a party (a communist party, ha. ha). We were invited to have a guided tour of the estate on our second day there. It includes more guest houses than I can count, a 25m indoor swimming pool with salt water, filtered and heated, a bowling alley (yes, we see a lot of them in Bulgaria - but not usually private ones) and one of the most complete and beautifully designed garden/greenhouse/ecological centres you could imagine. All kinds of species were planted throughout the park and they are very developed because they started doing it 140 years ago. The gardens are spectacular, one done in the english style another designed bu Louis 14th's gardener.A shame this place isn't open to the public. Thene there's a winery (they produced 120,000 bottles a year of white, red and cognac) which has been let go a bit in recent years but they's just brought back the master winemaker who was there for 30 years but has just returned to get it back in shape. He led us through a wine tasting - what an education that was! more later

Bulgarian Blues Diary



Day 1 - Sept 11. My birthday (a date no one will ever forget anymore) I won't forget this one either - for one thing it laster 31 hours, with time change and all. We landed in Sofia and after freshening up at the hotel (very old-world hotel) we made our way to a restaurant for a veritable banquet with a lot of the artists who came to Canada and other Bulgarians who worked at this end to help the Bulgarian Cultural Festival in Toronto that the Downtown Jazz office produced in 2000 and 2001 (hence the reason I am here). The guests around the table include world-renowned musicians and singers, a documentary filmaker, diplomats, radio producer, etc. At the end of the meal, the lights went dim and a giant birthday cake came out and they all launched into "Happy Birthday" - then the Bulgarian equivalent. Then most of us made our way to the club I will be playing nex Wednesday, called "The Swinging Place" One of the guests at the banquet was kaval (recorder like instrument) player Theodossi Spassov who joined me to sit in with a pop group that was playing (two of the guys had studied at Berklee). I did a couple of tunes even though I was pretty wiped out by then. I though the crowd was more disco oriented - and the general Bulgarian attitude made me feel that they would prefer disco to blues, but they gave me a great round of applause...and, one again a spontaneous launch into happy birthday as I was about to leave the stage. Theodossi played incredible on tha Kaval - he had a pick-up and went through the PA with an octavider or something and he rocked. I knew he was regarded as a national treasure, but didn't realize how big he was until the next day when we were doing a tour of a reconstructed medieval village in Etura and I was in the little shack where a woman made the kaval the same way they have for centuries, and there on the wall was a poster (1984) of Theodossi. The only thing in the place that was not 200 or more years old. He says he'll be joining me again at the gig on Wednesday and I look forward to doing more with him in a duo setting. Must remember to bring a set of strings to give the guitar player who lent me his strat - sinceI broke a string as I finished up my guest appearance.



Day Two: Forgot my passport at the hotel in Sofia - I won't let it out of my sight again! We visited a reconstructed village from the middle ages (mostly used for outings from Bulgarian school kids and some dedicated tourists (something like Puck's Farm) - it's quite a ways off the beaten path - and off the beaten path in Bulgaria can get pretty rough. On the way the traffic had come to a standstill because of a serious accident but our inventive driver got us around it. The washroom facilities were almost as primitive as the rest of the village but I'm advised that I will be seeing more like that throughout the country. After visiting the tourist re-creation we went to another village which is renown as a "artisan village" and we got to see some great craftsmen at work. In the evening we arrived at an amazing hotel called the Abarnazi Palace. It's a small, exclusive mountaintop hotel that was one of the residences of the former president/dictator of Bulgaria. Pat Taylor was instaled in the President's Suite - very luxurious and official looking. You got the feeling that a lot of very important decisions were made in those rooms (not too many that benefited the country). Did my tai-chi on the huge deck - overlooking the heliport,valley and mountains.

Sept 9 - 11:00 a.m. - Woobine Racetrack (45 minutes outside Toronto). I've driven up with Jerome Godboo and just as we settle in, we see Terry Wilkins come over the horizon lugging his big bull bass. He was looking very sharp and that's good because it was a condition of our contract "Suits and ties - Blues Brothers look" it said, finishing with "Look Sharp" The other band playing (at the other entrance) looked *really* sharp. Black suits and black shirts - it was Sandy Maintyre on fiddle with guitar and hand drum accompanyment.

So we played some instrumental blues for the folks - Jerome jumped in with a vocal on a few songs (and did a lot of jumping, generally - you can't hold Jerome down. He even had some fancy footwork for the gamblers. There's no PA but I told Terry it would be fine because although hundreds of people walk by you, they don't make a sound. When they get to the racetrack, their intent on only one thing ands they don't make small talk with their friends and neighbours.

In the slot machine area (a giant fantasyland arcade) it was quite different. There was a caucophony of sound emanting from thousands of slot machines making spinning (and occasional) wilnning noises. It sounds like sopmething Phillip Glass would create.



After the gig, I went (almost) straight to my sound engineer's house to put together a quickie demo to take on my trip to Bulgaria and Beyond. I've just been listening to the racks and now I'm going to sleep on it.

Sept 8 - The Southside Shuffle, Port Credit. This is the fifth year for this festival - the first year I've performed in it and, as it turns out, this was the year I didn't see anything of the event except my own gig. Isn't that the way it is when you're a busy artist on the festival circuit - ha ha). I heard a little bit of soull music across the street (and Purple rain - was Prince in the house?) and then on a break I took a walk over this picturesque bridge and heard some great guitar playing. In oft-seen guitar fashion, from a distance *all* I could hear was the guitar. Even when he went into a solo, I wondered if he was just playing without any accompanyment - which would have been weird...but then i heard a bit of drums and I knew it was a band. never figured out who they were. The club I played (solo) had a very loud streo system and house music was pumping out, even though nobody in the place was that young - including the owner/DJ who obviously took great pride in his selection of music. You really had to shout over the music. Some people actually left because it was so loud ) then again, I think some people may have left because I wasn't loiud enough). When I asked him to lower it a bit towards the end of the evening (because , in fact, I had used up all my loud, hi-energy numbers and wanted to get a bit more laid back. As it turns out, it got very laid back as a singer songwriter came up a did a couple of tunes with me - that's what festivals are for, right? Besides she said I was the best thing she heard on the whole damn street. Her name is Mary Lynn Wren and she did a dynamite version of Ode to Billie Joe (Last time I played that tune (and the first first time I ever played it) was with Tracy K at one of my Tranzac Thursdays - reminds me, I've got to contact the club about the month of October - I made arrangements for guests while I was away but I didn't make any for when I get back).

I think I better crash now so that I get at least a little sleep before the early call tomorrow - 11am showtime at the North Entrance to the Woodbine Racetrack (by the slots). I'll be playing with Jerome Godboo and Terry Wilkins. We'll have a great time. Terry left me with a musical "tip" so let me pass it along: It's about how jazz has a standard pattern much the same way that blues has the 12-bar form. The atypical jazz form is called "the Rhythm" Change and everybody knows it because it's the changes to the song "I've Got Rhythm". If you can figure out that song, you've tapped into the holy grail of jazz. He says after that, 'Round Midnight will make sense. I'm going to try it!

Started my day picking up the newsletters from the printer and distributing them to jazz clubs around town (this is the jazz newsletter which I do in addition to the blues newsletter). Since we were already in the west end, I called my nail technician to see if he could fit me in and he said come right over. I said I'd be there in five minutes, but when we were in sight of his place, the road was torn up with a detour that didn't take us anywhere near the place I wanted to go. Finally, I walked from where we parked - right in fron of Hugh's Room



A half-hour later we were into the CD launch party of Mose Scarlett. He started with Marg Stowe on guitar, then Tony Quarington, Jeff Healey and producer Ken Whiteley.

Tonight was my "Bon Voyage" party at my house gig at the Tranzac. Every Thursday for a year now I've been doing this solo gig and inviting a different guest each time. I've had the greatest blues players in the country as my guests: Michael Picjkett, Carlos del Junco, Michael Jerome Browne, Morgan Davis and my first (and only repeat guest) Paul Reddick of the Sidemen.



So, tonight my guest was Gary Kendall, long-time bass player for Downchild and we were having fun, no doubt about it. Halfway through the evening I told Gary that this was a gig where people could feel comfortable to try something completely different (and he did! he played a couple of originals on the guitar - I'll be posting a picture of me and Gary with him playing the guitar and *me* playing his bass. This should be worth money.



Before my gig, I dropped in to the Silver Dollar where there was an early show of Michelle Willson (the "evil gal" from Boston) I had just been to the club where she had a long-standing house gig called Glenn's in Newburyport. I told her that when I had a few moments to say hello before she went on. I then had a "foot-in-mouth" lapse when I asked her what happened to her star organist Ken Clarke...Obviously he didn't leave on good terms and she recoilled at the topic of the organ - that it really took up a lot of the sonic space as well as the energy of setting up, etc. Still he was a great part of the show (his piece de resistance was when he did a burning solo with his stockinged feet on the pedals). Michelle's new band was great though and she was in fine vocal form - there's just no one that sings with her confidence and abandon. She asked how late my gig went but I told her we didn't go past midnight so there was no way for here to get there in time to hear (or sing).



Meanwhile, back at my gig, somebody shows up on the break and says he's going down to Jeff Healey's club and that for the last set they will be inviting guests and he could arrange for me to sit in. I've never really met Jeff though we have exchanged words on the phone a few times when he called the jazz festival office, so even if he recognized my name, I don't think he would know me as a player. By the time I'd packed up, I didn't feel like going anywhere (except maybe a restaurant) but as I headed off, a little voice told me to head down to Healey's and boy am I glad I did!



Not only was Jeff in fine form (he wasn't talking about it tonight but heannounced from the stage last week-end that he was geiing engaged - how's that for juicy gossip in the blues diary) but he had a couple a players that I've worked with in the band and I was able to wrangle them into playing with me at the Woodbine Racetrack. I've done the gig before - it's totally acoustic. We stand around the entrance to the slot machines - no PA - no vocals necessary. So i'm going to do it with Jerome Godboo, harp and Terry Wilkins, bass. This is Terry's favourite kind of gig - totally acoustic. It's going to rock!



Meanwhile, since this is the first post, I should mention that I am also the resident desktop publisher and (barely)managing editor of several newsletters and websites for the Toronto Downtown Jazz festival, the Toronto Blues Society (MapleBlues), the Toronto Musicians Association (Crescendo) and others. Tonight on the way to the gig I had to stop by my printer and slip the pages under his door. Earlier in the day, I had the worst possible thing happened. Just after I had photocopied the final master pages of Downtown Jazz, I lost the originals. I looked everywhere and finally gave up in disgust and went and printed the whole thing again. That's what my days are like.



I'm taking the time to set up this blog because I've been highly enetertained by an ongong diary of a "big-time recording engineer" in a real life, real-time recording situation. It's hilarious - check it out at http://www.prosoundweb.com/recording/mm/

Looking back at 2001

December 31, 2001: Time for some profound thoughts, revelations and determinations. Hmmmm. Firstly, best wishes to the few hearty souls who occasionally drop in to this site - I know you're out there. But I'm always surprised when someone comes up to me at a gig or otherwise to say they were "checking up" on me. Mostlty, I hear from regular visitors inquiring when I will dump the "little drummer boy". Well, the good news is that I will be moving and re-vamping my site this year. I'm going to do away with the frames and try to have a search function to make it easier for people to see if I'm taking about them...
The big determination for the new year is to get a new album recorded and even though I've been focused on this for many months, the more mundane aspects of my work life have been interrupting the process (while keeping a roof over my head). Last month we were looking at a May release, next month...who knows?
We resume the Acoustic Blues Thursdays at the Tranzac on January 3rd with my very special guest, bassist extraordinaire, Victor Bateman. I can hardly wait to see what he will pull out of his hat for his feature set. (see the complete lineup on the left). Victor was a nominee for a Maple Blues Award a couple of years back and, in fact, all my guests in January are Maple Blues Award nominees and winners. I am humbled that musicians of such stature are willing to come and play with me in this casual, intimate setting. I continue to invite people I've never played with before and it's been a great experience for all concerned - the guest, the audience and myself.
There's a new addition to our Thursdays, we now start off with a "blues and gospel picking session" from 8:30-930. Everybody sits around in the proverbial "song circle" and each participants gets the chance to do a tune or two, or simply play/sing along. It's open to all musicians and singers and moderated by my friends Jeremy and Josee.
November 22, 2001 - The Tranzac:When I sent out the last-minute announcement about my guest for tonite's show, Eric Thom wrote back: "Julian Fauth plays like AJ Casson paints (okay...painted). He is a treat to behold and a more than worthy soul-mate to Brian's warm blues stylings." Then there were even a few more messages back and forth about whether AJ Casson referred to *Jim* Casson, former drummer for Downchild and a very talented person in his own right - I don't know about his painting but he can build a mean website.
Julian did a feature set of original material and made a great impression on a certain record executive in the audience ;-)
We finished off the night with surprise guest appearances from Zoe Chilco and Brian Neller of Blue Room. The Tip Box was better than last week but not as good as the week before. Here's hoping the club hangs in. Where else can you find a house gig where there's a real piano, a PA with someone to set up and run it, an easy load-in, a place to park and an easy-going attitude about when you start and when you stop.
Today Northern Blues mastered their next sampler and I must say that I felt a small victory in convincing Fred Litwin and Bill Garrett (who mastered it) to use a song of my choice - though it's still an old recording. You can tell it's dated from the lyric: "That girl's got a giga, she's got forty meg of RAM". Remember when forty meg of RAM was a big deal? When I tried to claim "creative control" I was told I have creative control over my own CD, not the Sampler!
I must sound like a big whiner - any blues artist in the country would be happy to be in my place, making a CD for release on Northern Blues. It reminds of a harp-player friend who ran into Colin James just after he had his big hit "Why You Lied" and Colin was complaining that he was feeling a certain pressure. It's hard to sympathize too much when you're struggling from one gig to the next. (We could all use a little of that pressure)
November 16, 2001 - The Siver Dollar: It was the CD release for Montreal artist Dawn Tyler Watson - one of the hardest working blueswomen in the country. She gets on that stage and takes charge. Downstairs in the Comfort Zone there was a very large, very young band doing funk music with very contemporary vibe.
November 12, 2001 - The Siver Dollar: Following a great session of drumming (my first attempt at playing a djembe and I did fine - my fingers haven't fallen off), I dropped in to the Silver Dollar because I heard that James Brown's Band, and possibly James himself were going to be using the club for a dress reheasal for a Jackie Chan movie they were filming in town. This conflicted with Danny Marks Stormy Monday Jam and Danny was a little out of joint - he doesn't hide it when he's steamed.
The JB band played a powerhouse 45 minute set - during which Danny was at home awaiting the go-ahead from his drummer Ed White. When he finally did make it to the stage, he said he spent that time listening to James Brown records!). Regarding the JB band, they were great, but it was interesting to hear how much better they got as the set unfolded. This is the most worked-out show I've ever seen with horn shots all over the place, modulations, etc.
Different sidemen (at first I thought they were roadies) took the front and covered the vocals so the band could run through their (very complex) arrangements. I bet anything those charts were the work of the young-looking unassuming rhythm guitarist, who was doing a lot of cuing of the others. It was probably a good thing that they ran through the set before playing it with "the man". They were only supposed to play 45 minutes, but they took a break and came back for a second set - most of which I missed because I went out for something to eat.
The place was overflowing but Danny took his time getting the jam going. He even commented from the stage about how the owner was trying to get him up right away to "hold the crowd". Tip of the Day: There's no way to "hold" the crowd when they've just experienced the James Brown Band.
Danny was obviously miffed - kept referring to "what a great opening band we had for you tonight" and then he launched into a hillarious parody of James Brown classics. "I Feel Good" a la Johnny Cash, "Poppa 's Got A Brand New Bag" in reggae and a Dylanesque "Please, Please, Please". Danny was in a dark mood and even referred to this morning's plane crash with his version of "Gimme A Ticket For an Airplane", whooshing jet sound effects and all.
But it's supposed to be a jam and the one time I finally get it together to bring my guitar to a Stormy Monday Jam, I never get to play (the story of my life). Maybe I should have waited for the bitter end, that's been my slot more than once. Worse yet, I don't think Diana Braithwaite got to play, either. I haven't seen Diana for a long time - she was looking fabulous and had a new air of confidence. Not that she needed it, she's the most natural blues singer you'll ever find. She wasn't going to stay for the end either and I think if I'd asked Danny if I could play he would have said something "Why don't you just take the whole gig - *you* come back here next Monday!"




November 1, 2001 - The Tranzac: I've resumed my Thursday residency at The Tranzac. My first guest was Rick Zolkower (pictured with me above) and this week I played with Daisy DeBolt and Marg Stowe. It's been great so far and for upcoming guests see the list of performances to the left of this page.
Guess what, Diary, I've bought a new guitar! A Johnson resophonic - $350 from the Twelfth Fret (I didn't think they sold guitars that cheap). Made in Korea or Taiwan or someplace like that, it plays great, stays in tune...and if I ever lose it or get it stolen, I know I can get another one just like it. For the un-initiated, a resophonic guitar has a metal cone in it to make it louder, and the rest of it is just plywood because you don't need expensive, good sounding woods since the resonator is making all the sound.I've been using it at the Tranzac and some recording sessions.
Also did a little recording at Puck's Farm, helping them test out their new digital recording facility. In the past we've had "exchange of services" when I've done some PR stuff for them and I casually mentioned the other day that the ad they were running on Danny Marks' Bluz.FM show would not have much appeal to people making blues records when all they talked about was the "crystal clear" sound. Next thing I know, Danny's calling me, asking *me* to write a script! Lesson of the Day: Keep Your Opinions To Yourself. In fact, even when people ask for your opinion, half of them don't want to know, really.
Also seen in my brief sweep through the Folkmeet: A preview showcase at Hugh's room I saw Katherine Wheatley perform a great set - I had never seen her this solo (she had some guests, including Suzie Vinnick). Katherine turned me on to the miracle of a good nail technician (a block away from Hugh's Room, too) - and my guitar playing has never been the same again. Tip of the Day: Try getting the nails on your picking hand coated with acrylic (it's a many-step process involving a whole chemical reaction right there on your nails) but it will make them virtually indestructible - in fact, be sure to take home one of the special emery boards they use because a standard nail file can barely file them. Ask for Lee or Amy 416-588-7270.
Hugh's Room has been presenting some great shows, though they couldn't support the regular weekly evenings (with Rick Fielding and Chris Whiteley). People only come out to see specific shows, it would seem. But it won't be long before people start frequenting it as a "hang-out" - the food is great, for sure.
November 8th, 2001: My guest at the Tranzac was Daisy DeBolt - a long-time musical friend. I have hardly ever played with Daisy except for a short stint when she was part of Fraser & DeBolt. I played the very first Winnipeg Folk Festival with them (and I think the first Sudbury festival as well). Daisy doesn't remember me playing with them at all but she did remember the time in Winnipeg when she asked Bruce Cockburn to sit in on the finale, but he didn't have his guitar so Daisy tried to convince me to let him use my guitar rather than hers (because mine had a pick-up). Anyway, I played my own guitar and Bruce played Daisy's and it all sounded great, I'm sure. I must be the only person on the planet who wouldn't let BC play his guitar! Daisy has a new album due soon - a masterpiece, for sure. Allan Fraser, now living in Montreal, is getting out once in a while with his guitar, usually performing with his wife, Donna. He's mostly been sitting back and enjoying the musical development of their kids.
November 4th, 2001: Montreal Night! with a double CD launch from Michael Jerome Brown and Penny Lang. Penny's CD is a collection of tracks she's recorded all the way back to 1963 - which is when I first hear her on CKTS Radio in Sherbrooke Quebec. It was a live recording of her and Roma Baran on second guitar and I even remember the song: There But For Fortune...or maybe it was some Phil Ochs' song. Anyway it was great to see Penny in action and she had the audience in the palm of her hand, as always. Michael Jerome Brown is a great player - he opened with a set of his own then accompanied Penny. What a great evening. They did it again in Montreal and Ottawa, too.
November 2, 2001: Saw some great guitarists at the Dollar this month! Junior Watson was a must-see. And Duke Robillard was back in town on Nov 2nd - the night of some important Canada Council Jazz ID showcases at the Jazz Convention. My old musical buddy and now CC music section head Russ Kelley was the master of ceremonies for the event but as soon as it was over we headed up to the Dollar to hear Duke. He was in fine form, and by the third song, I had turned to Russ to say that the last solo had done it for me so perfectly that I didn't really need to hear any more. Meanwhile, I wish I'd made a greater effort to stay on the music side instead of getting drawn into a discussion with Russ and Richard Flohil about the demise of Sam the Record Man, border crossing and other stuff.
October 26, 2001: I had a busy week-end at the end of October and it was very nice travelling light. The Friday night I was opening for Brian Gladstone at the Silver Dollar and the Saturday Night I opened the Toronto Blues Society Halloween Party, did a few songs myself then played with the band - the Voodoo Kings and the Blues Butcher. Dylan Wickens was on the bill too, though I didn't get to stick around and see him or Kieron Lafferty.
October 21: Here I am again, that last-minute man, plugging my gig tomorrow night (Mon, Oct 22) at the Montreal Bistro. I'll be performing a batch of new songs which we are recording for the upcoming CD (due for release Feb 2002). I'll be playing with Julian Fauth on piano and Paul Reddick on harmonica.
I will also be doing an opening set at the Toronto Blues Society Halloween Party at the Black Swan on Saturday, October 27. The Voodoo Kings is the band and other special guests are Dylan Wickens and Kieran Lafferty.
October 13 - Silver Dollar: Junior Watson is the "guitarist's guitarist" and when you see him you'll understand why. He knows a million licks and often uses "quotes" in the middle of a solo (ie, in the middle of a searing solo, he'll play 'Mary Had a Little Lamb") I Talked with him a bit on the break - he should have had a full house after the buzz he created a couple of months back, but it was not a full house. He was resigned to this and said many of the venues he had been playing since September 11 were down at least one-third in attendance.
October 10 - Ted's Wrecking Yard: Dan Kershaw's band, Brothers Cosmoline was having their CD launch in the midst of the "FolkMeet" conference and they had a great crowd and played some kick-ass bluegrass.
October 9 - Borealis/NorthernBlues HQ: It was a housewarming and going-away party for office manager Eve Goldberg as well as a "Welcome Aboard" party for new office manager Linda Turu. mmmm... great little fancy sandwiches. I met Harry Manx for the second time and many of us made our way to the Dollar to see his set - opening for Alvin Youngblood Hart. Harry is a phenomenal player - on a variety of instruments including the 20-string Mohan Veena which sounds like a Sitar sometimes. Even when he plays the standard lap slide guitar, you can hear the Indian influence. He studied and toured with V. M. Bhatt for nine years in India. The folowing evening I heard Harry doing a showcase set at a conference called "FolkMeet" and happened to be sitting behind Fred Litwin (pres of NorthernBlues) and Ken Whiteley. I leaned over to Fred and said "wouldn't it be great to have Harry guest on my CD" and he agreed wholeheartedly and said Harry would be around the following Monday. I asked Ken if his studio was available and he said it could be arranged. Harry was ammenable and voila! we had a session happening. You can hear one of the tunes "The Ghost of Clinton's Tavern" at http://www.northernblues.com/ghost.mp3.
October 6 - Silver Dollar: It was another fundraiser for the Eddy B Legal Fund (the 17th, I think) and the one time my media-mooch status does not provide free entry. Nevertheless, I wanted to see Eddie Baltimore (who played at the beginning so I missed him) but I did get to enjoy Kenny Brown, who I see more often doing the sound at the Dollar, but who has been a well-repected player on the scene for many years. As Eddy began to rant about another (third) party that he wanted to bring to court I told him I was going to write a tune with the line "I'm just another battle in Eddy's War"
October 5 - Hugh's Room: Cindy Church is performing with Joe Sealy and George Koller in a tribute to Hoagy Carmichael. Gorgeous music and Cindy has a voice that worked perfectly with it. Joe and George also sang and there was a bass tour-de-force that showed Koller as "the man" on bass in this town. He does it all!
So I had a pretty quiet September - that's what happens when you tell everybody you're going to be gone for a couple of weeks!
Sept 18 - The Rex: I've come to see my bass-playing buddy Victor Bateman's revival of his historic group from the 80's called Vektor. It's supposed to be the official launch of a retrospective CD called "The Story of Vektor" - according to the blurb I wrote in the Downtown Jazz newsletter. Except I had it wrong, the actual date was *October* 18. This is not the first time I have been steered wrong by my own misinformation - some kind of karmic retribution, I guess.
September 29 - Revival: The Toronto Blues Society has a big event called "The Blues Gospel Shout Out" and there's a great turn-out. I listen to the high-spirited Danny Brooks, Alana Bridgewater (who has matured considerably since I first saw her in the Women's Blues Revue a few years back) and Ken Whiteley before slipping out to the Silver Dollar to catch a few tunes from Michelle Willson from Boston. Her organist, Ken Clarke is a phenomenal musican and a real showman and she is teriffic. There wasn't a huge crowd at the Dollar this time. I headed back to revival hoping to catch the finale with Jackie Richardson and was lucky enough to see her entire set - she started pretty late. Jackie is simply incomparable. What she brings to the stage far transcends her singing - which was pretty amazing, as always. She is in a whole other league from other blues divas and you could tell something special was going to happen just watch the expressions of joy and anticipation on the faces of the backup singers. Then as she completed her last song, you couldn't help but notice the first personin the audience to leap to her feet was Alana Bridgewater. You couldn's miss her because Alana Bridgewater is at least a foot taller than anyone else in the audience. Jackie said something great between songs, that we should "get closer to our spirituality and thus closer to each other."
September 30 - Siver Dollar: Guitarist Shawn Kellerman was having a CD release and he played up a storm. I invited Sandra Tooze to come along with me and after hearing Shawn (who is now the official guitarist with the Sidemen) , we headed down to the Montreal Bistro where Jim Galloway was playing with clarinet master Allan Vache. They played some great trad blues sounds to close off the evening - after annoucing that a bluesman was "in the house."
September 11, 2001: A day of infamy - and it also happens top be my birthday. And it's the day I was to get on a plane to Europe but alas it was not to be, and I didn't fret at all about missing the trip though I was relieved to finally receive my ticket refund.




In the weeks preceeding September 11, I was working on a song called "Peace in The World". Paul Reddick (shown at far left in the photo above- that's me in the middle and Carrie Chesnutt at the other end of the stage. If you look real hard, you may see a part of Lily Sazz in that pic too - it was taken at the Markham Jazz festival)
Anyway, Paul played me an old field recording of some work song and suggested I give the lyric a more general approach, rather than specifically about the Irish troubles as I had it. We cut it with Harry Manx on lap slide guitar and Julian Fauth on piano. My life was altered a bit that day, insignificant compared to lots of other people. But did you notice in my last entry I slipped in a little "last will and testament"??? It's because I had a deep sense of foreboding about that trip. Perhaps my premonition was not about me, but about thousands of other souls. Freaky!

If you'd like a little preview of the song, you can download an mp3 - it's about 3 meg. http://www.northernblues.com/peace.mp3.
As a special Halloween treat, I've also posted a new song called "The Ghost of Clinton's Tavern" http://www.northernblues.com/ghost.mp3.
Clinton's Tavern is a long standing live music venue in Toronto and I guess has a history long before that. I'm not pre-occupied with the supernatural by any stretch but I did get a "weird feeling" at that place one time and when I inquired, I was told a vague story of a gambler who had been shot dead in the place back in the 30s. I made a note on a scrap of paper and I came upon it recently and was inspired (channelled?) to write this song.
The sessions were at Ken Whiteley's studio - he played some bass, too. It was a bit of a spontaneous session, I was sitting behind Ken and Fred Litwin, president of NorthernBlues, listening to Harry at the FolkMeet showcase. I leaned over to Fred and said "wouldn't it be great if we could get Harry to play on my new CD" and he said "Well, he's around for a couple of days" then I leaned over to Ken and asked if the studio was available, he said it was and next day we were recording! Voila.

Talent Search 2001

June is here and it's been pretty active so far. Last night I was at the Toronto Blues Society Talent Search Finals at the Silver Dollar Room. Barry Mack from Halifax, Big Mark and the Blues Express from Montreal and all the way from Saskatoon, a power blues trio of seventeen year-olds led by Jordan Cook.I stood watching Jordan with some of the Montreal contingent and as they watched young Jordan put on the show of his life, I'm sure they figured he was a shoo-in. But it was not to be. Despite their great playing, it was not as blues as Big Mark. There's an element of swing though not as pronounced as the young Toronto bands calling themselves swing. We won't even get into what the original "swing" players call swing...
I had a gig so could not attend the finals on the previous night (another great night of blues, I'm told, with Jimmy Helverson, the Soul Kings (with Josh Miller) and Toronto harp hero Jerome Godboo, who I have no doubt gave a phenomenal performance. I have played with Jerome and he is a consummate musician and as a front man he has no peer. But young Jordan Cook was certainly taking it in that direction with a lot jumping about and even some Guitar Shorty dance-floor antics. He played great, even laying on his back but it was probably too rock for a blues contest - that's the sort of thing that would have been said about Jerome in the past - and he was a runner-up in the same contest last year.

Things to work on:
Start a tune with a big flourish.
Do a funky tune (with drummer banging bell of cymbal).
Start a tune with drums (second line).
A zydeco groove?
Get them dancing.

Sat night I'm listening to Holger Peterson's Saturday Night Blues - a great tune from Gate who won the Handy Award for Blues Instrumentalist of the Year and he would be my pick too. Holger had a little interview clip with him and the quote I remember was "Music is medicine. I can be feeling real badly but when I get up on the bandstand I forget about what's wrong and I try to cure others."
Gate wasn't looking very altruistic when I met him a few years ago. He had just stepped off his tour bus, arriving very late for him appearance at the Toronto Downtown Jazz festival. No one from the festival volunteer crew was around so I went up to greet him and boy did he look stern, holding an elaborate carved pipe. It wasn't until the break when I was sitting with a couple of his roadies that they told me the story of how they felt they had just escaped with their lives from riot-torn Quebec City. In fact, there had been a few cars turned over and fires started on St-Jean Baptite Day in a suburb of Quebec, and the police had cordoned off the block where the band had parked their tour bus at a small motel. They knew they were going to be late for their gig in Toronto if they didn't get on their way right away so even though the police wouldn't let them through the roadblock, a young fan showed them a back way in and they quickly gathered their belongings and made their way out of what they thought was a near-death experience in a strange foreign country. But no batter how badly Gate might have felt, he played incredibly that night. He became my main man and to this day I try to find some of his recording that have the guitar sound that he produced right before my very eyes. I'll always remember him sitting on his upholstered stool with a fender amp on either side tilted up facing him.

I just heard that when I came up from my studio where I was frantically trying to lay down an idea for a new (or rather old) song called End of September. Holger was just playing a track from Rhythm & Truth Brass Band with Paul Reddick singing and playing harp. I've been doing some duo gigs with Paul Reddick and I here I was shaping this song to work with Paul - maybe even get him to sing it.
I did a gig last week with Paul - a house-concert in Orangeville in a loft above a music store called Acoustic Traditions. The store is owned by an ex-Toronto policeman called Wayne King and he was a great host. I was quite surprised by one of the audience members who told me he reads these inane ramblings in my Blues Diary. Well, maybe I'll keep it going but I've got to get rid of that "little drummer boy". I'm supposed to be getting together my "official" home page on the Northern Blues website, but I still haven't written a bio I like. The ones I do like tend to be self-deprecating and not good marketing tools

Overheard from the publicist hired to promote a northern artist showcase in Toronto: "I can't understand why anyone would want to live in that god-forsaken place"

Song ideas I'm working on:
"All I want is a statement" ( a song about record distributors)
"A Personal Private Showcase
A Command performance
"Waiting for a man called Wrycraft"

A busy November

Left to Right: Carrie Chesnutt, Michelle Josef, Lily Sazz and Brian Blain. Photographed at Mezzrows, October 20

I can't remember how November started but it ended with a dash to the FACTOR office to submit a grant application to make a demo. I didn't have the distribution, so I couldn't apply for the whole enchilada but it'll be interesting to see if I even get enough to cut a few more tunes. The FACTOR office was buzzing with activity, there wasn't any flat surface that wasn't occupied by someone frantically filling out forms. A couple of guys were holding their forms up against the wall and filling them in. As I drove up to front I saw drummer/entrepreneur Graeme Kirkland waved as he drove off. Inside, I was greeted by Kim, who recognized me and said "Hey, five minutes to spare!"

We'll see how that works out. I feel like I've already won because for the first time, I actually filled out the form and delivered it. Yes, of all the grant applications I have begun, this is they only one I ever delivered. I always maintained that these funding agencies deliberately set up a gauntlet of obstacles to eliminate those who are not "serious enough" about their career. Well, I've never been accused of being "serious enough" - that's for sure!

What else can I share for the few curious souls who are following my trials and tribulations (yes, people do tell me that they visited the site and enjoyed my ramblings): I got a little advance press for my gig at the Montreal Bistro - I was a "pick" in the Toronto Star and I know of at least one person who came to the show because he saw it there - and that was my dentist!
It was tough getting people out on election night - next time I play the Bistro, it'll be in September! The gig i played opening for the phenomenal Michael Jerome Browne at the Now Lounge was also very low attendance - and he is one of the leading lights in Canadian roots music right now, with a successful album, management, etc. But still, it's tough getting people out - when I sent out a gig notice I was starting to write something like let's give him a big "Toronto Welcome" - then I realized that's a bit of an oxymoron.

I was the opening act (in Quebec they used to call this the "vedette Americaine" because every big Quebec star would bring in an american artist to open and give the show some extra pizzaz). I hope I didn't get too silly at that gig, but there were just a few people and I had this new blues riff that I had just learned - "Lookin Good" by Magic Sam - and I think I played it between just about every song I did and even broke into it in the middle of another song...yikes.

But I was soooo excited to be able to play this groove. I had recorded this tune off the radio 20 or 30 years ago, never knew who the artist was, never heard it again, but listened to it over and over again over the years. When I finally saw Rockin' Johnny from Chicago playing it close up, I saw how it is played (I always thought it was two guitarists on the record). You can read more about the Magic Sam connection below.

There was a great discussion about blues jams lately, and I followed it with great interest. In fact I had some great support and advice (all very different) from some very experienced jam hosts, Danny Marks, Jim Krueger, John Dickie and Steven C. I needen't have bothered because the first thing the club owner said to me was "Whatever you do, don't let anybody on this stage unless you know them or somebody vouches for them - we've had to literally drag people off this stage and out the door." Well, that settles that! I guess we'll be thinking of my jam as kind of an "invitational" and I don't apologize for making it a bit of a showcase for myself, since it's the only regular gig I have.

We had a some great guests last time including Zoe Chilco, the proud mom of a new CD, Mbodeo, hot off the press - and even though it wasn't a big audience, she had the opportunity to make an impression on some music industry taste-makers including Dave "the Man from Socan" Betts and at least one record producer/label owner.

This week I've been following the recent "surreal gig" discussion on the "maplepost" list, just last week I had a gig that bassmeister Terry Wilkins claimed was quite surreal. We were playing (with Carrie Chesnutt on sax) at the Bay on Yonge Street, Toronto - to celebrate the kick-off of their extended shopping hours for the holidays. Several bands were playing throughout the store, a big band on the main floor with a stage and PA. We were on the third floor, set up by an escalator in the "Jeunesse" department. All of a sudden, a marching band in baby blue uniforms with fuzzy hats comes down the aisle and Terry starts playing along with them and attracts them to our "station" and prettty soon we're all jamming on "Here Comes Santa Claus" or something like that.

If that wasn't surreal enough, there was an elderly gentleman standing off to the side listening intently and Terry leaned over to me and said "that's Roland Mitchener!" I said "I think Roland Mitchener is dead," but a minute later when the gent said something, Terry asked if he was Roland Mitchener. He replied "I'm Mitchell Sharp." Terry said "well at least I got the "mitch" part, and they had a good laugh and we chatted about music (he plays piano every day) and he was in the official party that travelled to Europe and Israel with the National Arts Centre orchestra.

Tonight I intended to stay home to work on the December MapleBlues and send out this email notification - maybe make a few phone calls to get people out on Monday, but I got a call from Lily Sazz, my piano player, asking me to bring a couple of mike cables up to the Black Swan where she's playing with Blue Room. Paul Sanderson, the leader, never ceases to amaze me with all the duties that he fulfills in that band. Paul, if you didn't know, is Canada's foremost music attorney and has a thriving practice and it would be easy for him to play it safe but practically every song had a worked out guitar intro and was propelled by his solild rhythm. Lily fit right in with the piano.

From the Swan, I made my way to the Montreal Bistro to deliver some promo for my gig Monday and heard the last set of Bill Mays with Neil Swainson and Terry Clarke. I don't think the jazz piano trio could get any better than these three world-class players. The music was phenomenal and it was confirmed that there were many jazz pianists in the house watching in rapt attention and when Mays stuck his left arm in the piano to mute the strings, three youn men all got up from their seats to get a closer view of how he was doing it. It sounded very much like a guitar player who mutes his strings with the ball of his hand. Then he played a ballad called "The Peacocks" by Jimmy Rowles, whom he said "holds the world's record for 'hanging out' the longest at Bradley's in New York City. They played the gig from 9:45 to 3:00am, carried on until 5pm the next day, went home an showered - possbly - then came back and played the first set at 9:45 the next day. Day in and day out."

Then, since I was out and about, I swung by the Silver Dollar to catch the last of Eddie Shaw and the Wolf Gang. To come from a couple of Neil Swainson bass solos to hear a pretty primitive bass solo by Eddie's long time bass player, Shorty, who is quite short and plays his Fender bass sitting on the edge of a straight back chair with the bass hanging practically to his knees. Eddie's son Vaan was being interviewed for a video documentary in the dressing room and had some very perceptive observations about guitar players, and in particular young white blues guitar players. He said Stevie Ray Vaughan and Kim Wilson were the blackest white men he'd ever met - that they had totally absorbed the culture. And while he decried that the musicians who planted the seeds never got to benefit very much financially, he certainly gave the white blues players their due. Roy Buchannan is one person that could really play the blues. When the interviewer asked for a seminal blues song or album, Vaan said "I'll do better than that. I'll give you the name - Magic Sam. He had it all, and the greatest thing is ...he didn't know it. He was a simple man with no formal education.
Interesting that he should mention Magic Sam. In the last few days I've heard two guitarists playing at the Silver Dollar, Tony D from Ottawa and Rockin' Johnny from Chicago and both of them pulled out the classic Magic Sam instrumental, "Lookin' Good" as a "barn-burner" guitar showcase. It's one of my favourite blues instrumentals and for years I had a recording off the radio but I never learned till recently the it was Magic Sam and it wasn't until I saw Rockin' Johnny playing it close up - til then I thought there were two guitars making that incredible rhythm.

Even though practicing is an alien concept to me I have been playing that guitar part over and over for the last 3 or 4 days. I haven't been this focused since I spent a week-end with a Danny Gatton video, probably the only time I put any real effort into learning a guitar riff. I can't say I've made any great effort to learn other people's styles ever since my introduction to the blues from an instructional record called "The Art of the Folk Blues Guitar." That was 35 years ago and I'm still playing some of those songs, and the same seven or eight licks...on the same guitar!
Come out Monday Night to hear the full band in a great setting. And if you can't make that gig, I hope to see you on Thursday Nov 30 at the Now Lounge (where I open for Michael Jerome Bowne) or to an intimate house concert (with Lily on piano) at Downtown Jazz, 82 Bleecker Street on the following Thursday, December 7

Tip of the day: A couple of musicians have suggested lately that the simplest and maybe cheapest upgrade a musician can make to his gear is to get all new cables - premium (broadcast) quality. I'm told the improvement is immediately apparent - more frequency response, presence and probably other difficult-to-measure factors. Hmmm, and I've always bought the cheapest cables I could find and used them for decades!

Nov 13, 2000: I've been following with great interest the discussion about blues jams and the role of a jam host because tomorrow night I will be hosting my first blues jam at the Tennesse on Queen St. West (and thereafter every second Tuesday of the month - if I can make a go of it!).

....anyway, back to jams... at first I had a mind to bring my bass and spend the night backing up others. Then I ran into Danny Marks on Saturday night and couldn't resist asking his advice. Danny is a true jam pioneer in Toronto - maybe the originator... And anyone who has taken part in Danny Marks' Stormy Monday jam over the years will know that he runs a tight ship - well, that's putting it mildly! I've invited Danny to jump in to mapleblue-l with his guidelines for a successful jam (what hath I wrought!)
I'm calling the jam "Colorblind Brian's 12-Bar Blues Jam" and I'm hoping it will nurture the laid-back country-blues style that I like, but to get it started, I'll be happy for any jammers that show up. This jam has not been publicised at all so I hope some of you Maplebluezers will pack up your axe and bring it to the Tennessee tomorrow (Tues) night. I look forward to jamming with you and perhaps getting a few tips...my limited experience with blues jams in Toronto has been a lot of waiting and very little playing, if at all. Maybe that will make me a more compassionate jam host.

Other stuff I've been doing: On Nov 7, I was at a CD launch for the Rob McConnell Tentet, a collection of the best horn players on the planet and recognized globally with Grammy Awards and such. They played a few tunes that demonstrated a real comfort zone that each player had achieved. They were flying! And then we went up to the Silver Dollar to hear Walter "Wolfman" Washington. Every tune was so worked out. Horn shots and lots of little arrangement things. After the show I was talking to him - said that a lot of the musicians in the house were impressed and they must rehearse a lot. Walter said "Well, we've been together 18 years..." (nuff said). There were not one but two tour buses parked outside the Dollar but alas neither of them was for the comfort of the Wolfman. The downstairs club, the Comfort Zone, was featuring a couple of English "jam bands", the Ozric Tentacles and the Star People (I never heard of them either!) I heard a bit of both bands, but it was back upstairs to hear Wolfman. They don't make em' like that anymore!

October happenings

Looking back at October it's been a busy and enjoyable time. The month ended with a great weekend in Barrie at the Ontario Council of Folk Festivals Conference and Showcase. I was invited to participate in a seminar on the internet - kind of a free ride - so I brought my guitar and sure enough, I had the opportunity to jam with some great musicians like the legendary Stephen Barry, Jordan Officer, the young Montreal guitar phenom and an indisputible future star, Tannis Slimmon.

At about 3am, I walked through one area where a musician whom I had not seen at the conference was sitting at the head of a group of players. Someone said "you do one, Wendell" and I knew I was seeing for the first time the locally-revered Wendell Ferguson and when he launched into an original tune with hilarious lyrics and very fast picking, he lived up to his reputation. In fact, I guess I was a little intimidated because I just kept on moving down the hallway where I sat in with Dan and Jenny Whiteley and the festival director from Home County Festival leading the session on mandolin. I just started playing along and got a suspicious glance when I threw in a bent note. I didn't get a solo. This was the first time that I brought out my guitar at one of these music conferences - though I've attended many in my editor capacity.

There's a few tips I would note:
1) Always have a tune or three that you can pull out - something everyone will know or can learn right away - preferably with a vocal chorus that will get everybody singing. This is also not the moment to pull out a tune you've just written.

I also wondered aout the etiquette of doing a second song - but there was a long silence after I did one tune so I said "Can I sing a ballad?" I did "The Big Fire" and someone standing in the doorway asked "who wrote that song?" and I said me. He was sure he had heard it someplace and I said "Bill Garrett and Sue Lothrop?" and he said yes that must be it. I figured out later that he was the owner of a club in Ottawa where they had just done two nights. (Note to myself: Get a booking at Rasputin's)

The internet workshop went great but I have to chuckle when I think that the first thing I saw when I walked into the room I noticed that Gene Wilburn, my collaborator, had written my email address on the white board and it was wrong? I pointed that out and he said "I just took it out of the newsletter". Well, I made the newsletter! ...Just call me the (barely)managing editor.

I did a couple of "special guest" appearances last month - trying to "get a profile." I guess my career is still at the "early stages," though I made my first recording with a folk group called the BAK trio back in 64-65 (on an ampex 3-track, I recall). I did my third guest shot with Dylan Wickens at the Black Swan. That's always a rockin time. The drummer this time was someone who has a lot of big-time credentials but who was a very down-to-earth guy - John Bouvette

A few days later, I was a "tweener". This is someone who plays between the opening act and the main attraction. I asked Richard Flohil, the promoter, for a slot and he graciously provided one - between Nancy White and Susan Werner. He wanted me to do something "special" - and I said I would sing my rarely-performed song "The Story of the Magic Pick", which I recorded in 1973. I wouldn't usually take the time to ramble on about behind the scenes stories of how this or that came about, but I think a web page is a perfect place for rambling - you can stop, scroll forward, or quit - you've got all the basic information at this point. But to ramble on...I was in the studio recording a song called "Don't Forget Your Mother" back in 1973. It was one of the first songs I ever wrote and it caught the attention of a famous producer in Montreal, Andre Perry - the man who recorded "Give Peace a Chance" with John & Yoko.

The producer of the sessions was Frazier Mohawk who brought in an all-star cast of American sidemen including Tom Malone (Blues Brothers, Letterman), John Lissauer (Leonard Cohen) and the legendary drummer Jim Gordon (Derek and the Dominoes) who was arrested and convicted of murdering his mother not long after recording "Don't Forget Your Mother." The back-up vocals were provided by Laurel Masse and Janice Siegal from the (then) up and coming group Manhattan Transfer.

As an up-and-coming new artist signed to a major label, I was expected to make some appearances, and I put together a back-up vocal group and called them "The Blainettes" We only did a few gigs together, opening for Lou Reed was the highlight. It was the peak of his popularity but the people enjoyed our set - one audience member said he liked our performance better than Lou's.

My first impression of Lou was not so friendly, we arrived at the theatre and were shown to some dressing rooms - One was full of people, the Lou reed Band, and the other had just one small bag on the counter. We moved in to the only available room, but within a few moments, Lou was standing in the door way. I said something like "Er, is this *your* dressing room and he said "Yes." End of conversation. We found another place to get changed.

Back to last week, I decided to perform this old chesnut for a very attentive and influential group of folk afficionados and, wouldn't you know, I forgot the words. One song to do and I forget the words! It's not the first time - when my drummer/friend Mike Fitzpatrick encouraged me to get the song out of mothballs, I found myself having to re-learn the lyrics from the original 45-rpm jacket where they were printed.

I should have had them prominently displayed when I performed the song at my "tweener". I jumbled up some words so bad that the only saving grace was to find that nothing unruly had happened in the audience and people applauded. (tip of the day: An amateur practises until he can do it right. A professional practices until he can't do it wrong)

Another big "up" for my local profile, at least, was being invited to perform on Steve Gash's fundraising show. The two other guests were Paul Reddick of the Sidemen and Michael Pickett. Reddick was late and arrived about the same time as me. Then Pickett walked in, took his guitar out of the case (something he's doing a lot more of) and started pacing. I knew that I was going to be delayed for a newsletter meeting and sure enough, I didn't go on until after Pickett - but Paul Reddick, who was not feeling very well, stuck around long enough to play a tune with me (Computer Club Queen). What a treat, and what a gentleman he was to stick around.

On the 26th, I went to David Wilcox CD launch - he's an Ontario legend, but coming up in Quebec, I hadn't heard of him at all. It turns out Michelle played drums on his first album, though uncredited. He is a great guitar player and was accompanied by Richard Bell on piano for a media preview. I saw that after that short set, Colin Linden arrived and as I left the club I saw him setting up - I wanted to try coming back but ended up at the Cash Brothers CD launch at Ted's Wrecking Yard. My neighbour Andrew and his brother have a very special blend and they create a real "mood" in the room. They got three encores and there couldn't have been a better time to get 3 encores than when all the US record company brass has come to see you for the first time. Downstairs in BarCode, Michelle was hosting an impromptu ambient jam, since the usual Hey Stella lineup was unavailable.

I think I owe myself an apology for not including my Oct. 15 Mezzrow's gig in the MapleBlues listings. I don't suppose it's any consolation to any other artists' whose listings I have screwed up in my capacity as (barely) managing editor, but it shows that it can happen to anyone...

A special welcome to Jan, John, Glenn, Helen, Duncan, Jay and several others who have signed up on my personal mailing list. You will receive a message like this once or twice a month and for those who may not yet have received the CD they paid for, sorry for delay - the mail order system is being upgraded (we have to buy some stamps). And for that list member who finds my group messages too impersonal, I want you to know that you *are* special!

October started with a birthday party at the Silver Dollar on Monday, October 2. It was Michele's birthday - she's that tall. blonde, animated waitress who floats around the Dollar. Since it was happening at the same time as Danny Marks Stormy Monday jam session I thought I might be able to sing a tune for Michele but there was no way Danny was going to let me use his guitar (TIP: if you're planning to jam, bring your axe). I thought of a fun song I could do with Danny accompanying me so I shouted it out to him, and he said "Oh yeah, I know that song" and that he had just performed it on his CBC show - and then proceeded to sing half the tune!!! Steal my thunder, will ya? Anyway, I slipped out after listening to a couple more jammers but I'm told that Danny was calling for me long after I was gone. I'm sure I haven't heard the last of this.

On the 3rd, Prime Minister Chretien annouced there would be no federal election until at least November 27th. I'm playing the Montreal Bistro on the 27th and if the election is called for that night, it will be the third time I've played the Bistro on an election night at the end of November. Last time, we promoted the gig as "Sherbrooke Night at the Montreal Bistro" in honour of then-opposition leader Jean Charest who hails from my home town, Sherbrooke, Quebec.

On the 4th, I went to Colin Linden's tribute to Rick Danko at the Horseshoe. There were a lot of musicians I didn't know playing Rick Danko songs including a Woodstock group led by Professor Louie - who produced the last two band albums. Got to chat with reknowned musicologist Rob Bowman for a while - he's been writing the voluminous liner notes for the the newly released Band box sets and mentions there are lots of great unreleased tracks on them. Colin was playing great, as ever, and did a long set with Blackie and the Rodeo Kings. Bonus.

On the 6th, I had the pleasure of hanging out with Japan's leading jazz star - Sadao Watanabe, who my client Downtown Jazz presented at the Winter Garden Theatre. What an amazing venue - now I know why they call it that! The decor dates back to the turn of the century when it was a vaudeville house. The ceiling is covered with phony leaves and you feel like you're sitting in a forrest. Surreal! After the show and an after-show reception with Japanese dignitaries we retreated to a Chinese restaurant where I heard hilarious stories of touring with Dizzy Gillespie and Sadao's hobby - collecting old golf clubs.
Konichi, the guitarist, asked me if I knew of any blues bars in the area and I told him there were two within a block, so we slipped out and visted Grossman's. When we walked in, guitarist Ermest Lee was playing a burning solo, standing on a chair in the middle of the room - Buddy Guy-style. Konichi needed to use the washroom and I reluctantly directed him to the downstairs men's washroom which is pretty raunchy and I looked at him apologetically when he came back but he shrugged like "I've seen worse than this". I'm sure he has, he's played all over the world, though this was his first time in Toronto. I wanted him to see the Silver Dollar as well, but by the time we got there, the music had just ended. We looked at Eddy B's photo exhibit. I had paid the admission because it turned out there was no media comps for that evening since it was a fundraiser for Eddy's litigation with CIUT and the University of Toronto. Eddy took great relish in taking seven dollars from me - who he considers in the "enemy" camp. Well , despite his ornery, cantankerous nature, he is a great photographer and his show will be on display through November in the back room at the Silver Dollar

The following evening, back at the Dollar, the legendary Sonny Rhodes (with trademark turban and lap steel) stretched the limits of how long a back-up band should play before bringing on the star. An interminable twenty-minute instrumental version of "The Thrill is Gone" opened the second show but it ended fine when Sonny was joined on stage by Michael Pickett and Johnny V. Sonny seemed to be moving pretty slow, getting on in years but sounding great.

A festival gig and a good review for "Who Paid You To Give Me The Blues"

Here's a picture of Michelle, Suzie after our gig at the legendary Silver Dollar Room:

Just back from my rehearsal for the Oakville Jazz festival, Friday Night, 7pm (opening for Mississippi Heat). For this gig, we have the luxury of a fifth player and that player is the phenomenal Carrie Chestnut on tenor sax. She joins Michelle Josef, Lily Sazz and Suzie Vinnick to provide a kick-ass back-up band (with background vocals, even).
The concert is at The Oakville Entertainment Centrum, located at the northwest corner of the QEW and Winston Churchill Boulevard, off Upper Middle Road East. From westbound or eastbound QEW, take the Winston Churchill Boulevard exit off the QEW. Proceed north on Winston Churchill Boulevard to the traffic lights at Upper Middle Road East. Proceed west on Upper Middle Road East, turn left and proceed east to the Oakville Entertainment Centrum.


These "proceedings" culminate in an evening of highly entertaining blues from ourselves and the wonderful Mississippi Heat. We'll also be doing a late show (11pm - 1am) at the Nearby Alice Fazouli's. Take a run down to Oakville on Friday night and support the blues at Oakville Jazz.
Other Gigs & News: If you're heading to the track on Saturday (Woodbine, that is) I'll be strollin' & strummin' the blues with Suzie and Victor Bateman from 5:30 to 8:30.
Next Friday, September 1, we're at the Tenessee Tavern, 1554 Queen St. W.

In other news, we got our first national magazine review for "Who Paid You To Give Me The Blues". Here's what they said in SCENE Roots and Blues Magazine: "Blain, a veteran bassist and guitarist, has finally got around to recording his own project, a whimsical blend of driving bar blues and more esoteric material that echoes his past as a sideman for Lewis Furey and Fraser & Debolt. The title track track sports a Dr. John-style vocal, a relentless groove and nice bursts of Blain's guitar playing, while a track like "Worry, Worry" has a more R&B flavour. Blain clearly has a sense of humour, as evidenced by the country-tinged "Entrepreneurial Blues" and the swinging "Girlfriend Blues." The Latter probably boasts the best vocal performance on what is largely a guitarist's record. Also worth checking out are "The Big Fire" which showcases the subtler side of Blain's musicianship, and "Y2K Blues" with it's mock apocalyptic narrative."

Other Good News: I got a check from SOCAN for performance royalties. What a nice surprise, even though it was a rather small cheque for the publisher's share - the writer's share was used to pay down my national debt from a fat advance I got from BMI many years ago (back when they gave advances for signing). The best news is that I now seem to qualify for a free subscription to "The Music Scene." Now I only owe them $917. In case you're wondering how that happened, a long long time ago, back when there was competition between SOCAN (then called BMI) and CAPAC, they used to give cash advances and I'll probably be paying mine back for decades to come.

The other career milestone was being invited as a "special guest" at Dylan Wickens house gig at the Black Swan. It doesn't matter that for most of the evening there were more people on stage than in the audience, I actually got paid $50 just to sit in. I never met these guys or heard them play except for one cut on the radio - but that's the great thing about the blues, there's a standard repertoire and even when you do original tunes, they have a bluesy, predictable arrangement.

On May 22, 2000, Rick Zolkower launched his CD of old-style blues at the Silver Dollar. Music Rating: Three Notes for being so real. Food Rating: 2 Shrimp ( good dip and I happened to be standing by the food table when some hot pizza arrived)

Saw Jenny Whiteley playing the we dropped down to Grossmans where they have had some kind of 25th anniversary celebration. They were featuring Michael Pickett Band with spoecial guest Michael Jerome Brown