"A musician, if he's a messenger, is like a child who hasn't been handled too many times by man, hasn't had too many fingerprints across his brain."

- Jimi Hendrix 1942-1970

Women's Blues Revue

What a great night at Massey Hall. The opening number from Carrie Chesnutt and the WBR band was an absolute show stopper. The six amazing vocalists that followed were all great, but I don't there was anything that could overshadow Carrie's performance of "Dr Feelgood" (which she only recently learned). I hope that cut makes it onto the CBC Broadcast (Dec 30th on "Sounds like Canada" with Shelagh Rogers and starting Jan 3 (??) on Saturday Night Blues). It was pretty long number...but if all Canada could hear Carrie doing that tune, they would be wondering out loud why she wasn't one of the featured vocalists and why we don't see her touring across the country as a headliner. Just one more thing about Carrie...the show opened with a wailing sax solo but you couldn't see who was playing because she was in the dark. It was Carrie on soprano sax and when the lights came up on her people were doubly amazed because she looked fantastic. Then she handed off the horn to Sarah and went into this sultry, searing vocal...well, it was something to behold. You had to feel for Roxanne Potvin following that production number with her pared-down blues sound even though her new material is getting away from the blues. My seatmate John Valenteyn said he could hear Colin Linden's influence - he's been producing her new CD set for release in February. Shakura S'Aida, Suzie McNeil, Lee Aaron all gave great performances and Salome Bey was very entertaining - her daughter Saida on stage throughout with her and sounding great herself. What a night!
The whole evening was quite a feast for the eyes, too. Here's a link to some
great pics from Bill King:

http://homepage.mac.com/superblain/PhotoAlbum2.html

A New Promo Shot

In case anyone thought I wasn't doing enough to promote my new release, at least I got a new picture (I'm always advising artists to get new promo shots done regularly - tip of the day), Rick Zolkower (better known as "Mr. Rick") took the pics.

It may take more than a new promo shot to get some gigs happening. I think I can't keep sitting around waiting to be invited to play - even though that happens often enough to keep me believin that there's people out there that want to hear what I'm putting down. I'm getting airplay, good reviews for the CD...all that's missing are the gigs.

Well as soon as this newsletter is done, I'm putting together a new promo package and getting it out there. festivals have probably already mostly decided who they're having but "you don't get if you don't ask". One thing is you never really have the humiliation of being told "no" because they don't even get back to you unless they're making you an offer.

So in the absence of any gigs, I've getting out to hear a lot of music. Last Saturday alone I saw three amazing events - a film premiere of a documentary film on the life of Jackie Washington in an impeccably restored 1920's movie house in Hamilton, a quick drop in at Hugh's Room to hear a bit of the Long John Baldry Tribute - The Mississsippi Hippies were playing when I poked in. That's the loudest I've ever heard any band at Hugh's - which is a very bright room. I couldn't stick around but I guess they went over great, with an encore and all. Finally, I made it to the Horsehoe just as Sharon Jones and the Dap Kings were taking the stage. What a show. Amazing horns - she's something special. She puts on a show for the people - hardly a space between each tune - beautifully paced. I hope some of that sunk in. Sure makes me want to do some band shows again.

reality TV episode

I should have brought my camera...tonight I was the "feature" at a popular open stage in the East End at the Renaissance Café. When I saw the gig posted on the folk listserv they said there was going to be a TV crew there filming a "makeover" program for the Women's Television network. They were all over the club when I got there...lighting guys, camera guys, sound guys...hmmm...all guys. Anyway the open stage was proceeding with the regulars (a very high calber of talent) then it was time for thew "feature". I don't know why I'm putting quotes around feature...maybe I've never been a feature before...actually there was that time at the Liquid Lounge in Brantford. I shared the feature spot with Rod Phillips and we rocked. That was the day I got to play with Hubert Sumlin and he uttered that now oft-repeated quote "You got somethin...something goood."

I slipped down to the washroom before I got called to the stage and tghere in the corner of the basement was someone running over "Me & Bobbie McGhee". Apparently this woman had bee a Janis Joplin Tribute Artist a few years back and the reality show was giving her a makeover and a "comeback." She came on after me...well, host Brian Gladstone played a nice instrumental just before he introduced her

I should have stuck around to see how thing ended up, but I left as "Janis" was launchinmg into the second take of a long, slow original. If any of my blogfans has a TV and hears when this plays on TV...please let me know.

(Mike Fitzpatrick would be happy to hear I sang my TV blues for that room full of TV people (though I got the verses a little mixed up) and I finished off with Hi_tech Blues which I totally changed (and this time not for the better). Oh well, maybe I'll perform it better in costume at the Trick or Treat Ball on Saturday

MOATM

Music On At The Moment - I'm just listening to the fundraising show on CKLN Lowdown to Uptown (Toronto campus/community station). The studio was filled with local players, and I think most of the donors were part of what feels like a pretty small group of hard-core blues afficionados in this big city. What's going on? Well, maybe it's because it's the last game of the world series but ...the Blues Is Hurting... the

Speaking of my album, today was another milestone. I finally handed-off the final "completion report" that is required to get the final payment for the FACTOR loan that we received to finish this project. FACTOR is a government programme up here in Canada that will loan you money to do a recording and will understand if you don't sell enough CD's to pay them back. But they make it pretty complicated...You need copies of the invoice, the cancelled cheque and a signed, witnessed, declaration from each musician and engineer that they actually received the money. Phew! I shouldn't be complaining so loud until after the cheque is in the mail.

Anyway, this life in the blues lane is having it's ups and downs. It was nice to hear my CD included in a "prize package" from NorthernBlues - alongside some very credible blues artists, Carlos delJunco, Paul Reddick, Mem Shannon...

then I get a reality check from some bad reviews (I think the record company has been shielding me, but my friend Jacquie googled me and found them - hmmm, it takes a real secure friendship to get away with that). Some guy said the album should be called "Underqualified to Make a Decent Blues Album". Another guy knew that I had asked all the players to listen to John Hammond's "Wicked Grin" album before we started the sessions. How did he know that??? Anyway, drummer Michelle Josef was the only one who took my advice....and in the end we didn't really capture that sound - but then we created something all our own, thanks the engineer Paul Benedict who spent years and years doing live sound and has what they call "big ears"

Quebec Tour

On The Road Again! This is the first tour since the CD release and only the first of many, I hope. Startewd out at the OCFF (Ontario Council of Folk Festivals) Conference and Showcase in Kingston. I was very grateful to be invited by Magoo to be the "facilitator" for a campfire-style song circle. Man was I surprised when I got there (in the nick of time) - they had transformed a meeting room in a convention centre with a hi tech fireplace in the centre and subdued lighting all around. There really was a "getaway" vibe from the hustle and bustle of a music industry conference. The rest of the night was mostly jamming with musicians in the room. Lily Sazz had her piano, some guests were Suzie Vinnick and Ken Whiteley with his bass playing son, Jesse. I was so happy to have brought the bass along. I got to play a lot and so did many others. It's a beautiful old P-Bass that practically plays itself.

I pulled out the bass at the gig I did in Pointe Claire with some great Montreal-based blues guitarists, Rob Macdonald, Dale Boyle and Vincent Beaulne. Promoter Brian Slack called it a "guitar summit" and it was a great show. I played a night in Belleville, too. That was in a nice little hall promoted by the Loyal Blues Fellowship of Belleville.

Then I played a couple of towns in Quebec that I had never visited - and I was born and raised in Quebec! Joliette and St-Hyacinthe are both very french-speaking towns and I'm sure at least half of the audience was not following my english lyrics (then again, maybe 50% of *everybody* doesn't follow my lyrics)



The last gig was a taste of things to come...I hope. After the soundcheck (with a great PA and friendly, obliging sound man) its "will you have your dinner in the dressing room or would you like to eat in the club". And a cheese tray. A cheese tray! Mama, this is the big time!!!

A big thank you to all the Canadian folk DJ's who gave "Overqualified For The Blues" a spin or two in September. The report I just got shows me tied with Bruce Cockburn for the most spins in September. Wow! (wait a minute, how is that possible - has anybody called for a recount?)

10 Plus Spins Location Playlists Spins

Corb Lund AB 10 13
Steve Dawson BC 8 15
David Francey ON 12 15
Brian Blain ON 9 16
Bruce Cockburn QC 13 16

I hope I'll have the opportunity to thank you in person at the OCFF Conference. If you spot me before I spot you, please stop and say hello. I'll be hosting the "Campfire" on Saturday from 12:30-2:00pm and doing a Midnight solo set followed by an all-night jam in the blues room where Lily Sazz will have her keyboard and I will be bringing along my bass.

The album is now available at amazon.com and individual tracks are now available on Itunes and we’re getting a lot of play including a syndicated Blues show in the states with 100 stations and an audience of over 2 million listeners.

Lots of reviews, too: The Globe and Mail's Brad Wheeler had me at the top of his picks for September 30. He wrote: "On His new Overqualified For The Blues disc, the genial blues player does nothing like Born Under A Bad Sign. But for mature, relaxed-fit acoustic blues, Blain's the man for the job."

Kerry Doole wrote in TANDEM (Oct 2-9): “Brian Blain is one of the most important and popular figures on the local blues scene. The singer/songwriter launches his long-awaited new solo album, Overqualified For the Blues, with a gig at The Silver Dollar on Sept. 30. Expect a mix of gently satirical and more personal material.”


Here's a review from Austria (???):

“…a subtle, poignant, affecting album that initially confuses you; for the question here is; is it a folk influenced blues album, or a blues influenced folk album? … a distillation of life's experiences and frustrations including friendship, love, landmines, death, adoption and insensitive music executives, all presented with skill, love, care and conviction. A musical tapestry of styles and heartfelt emotions woven together with … an engaging feeling of warmth and comfort in sound, combined with a questioning stance on some social issues. An album to relax to and make you think! Mucho Impressto!
-Brian Harman. Blues Art Studio Magazine, Austria (lead review)

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“Canada has had its own version of the blues for some time now, and two new albums find themselves prominently at the forefront of this genre. The first is Brian Blain's Overqualified for the Blues, which on the title track tackles the obvious irony of the "blues" that proliferates from this land of the north: how do guys who've got money, are never abused, and have insurance, justify singing the blues?

Throughout the album, Blain seeks to justify this. "Some say to get the blues you need to be low down livin' on welfare," he acknowledges on "High-Tech Blues", but as "my computer is crashing and my network's going down," he experiences the blues as well. "The high-tech blues strikes all, ask any millionaire," he adds. …A very interesting number is his blues song about the blues, "The Blues is Hurting". Funny no one's thought of doing this before, considering, as Blain points out, "My favourite club is closing, CD sales are down... the money hasn't changed in 30 years, and there's still clubs downtown expect the band to play for beers."

Nonetheless, Blain claims to write "the kind of blues that lifts you up if you're feeling down." …It's strange, ironic, maybe even oxymoronic, but it's true. Very entertaining, groovy music and stories that hold your attention are some of the defining characteristics of this album.

4/5 Reviewed by Dave Johnson – The Argosy, Halifax, NS September 05

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“Canadian based label Northern Blues Music's latest releases focus on a trio of Canadian roots and blues artists. The catalogue numbers suggest that Brian Blain's album has been in the pipeline for a while, and the liner notes confirm this: the first tracks were laid down just before Christmas 2002. …Blain is an astute observer of life and this is reflected in his lyrics which are shot through with a wry sense of humour. Few would be able to get away with the opener "Saab Story" which cleverly plays on the Saab/sob pun, but Blain pulls it off with consummate ease. Blain sings and plays guitar throughout, accompanied by a range of familiar names including Michael Jerome Brown, Harry Manx, Paul Reddick, and the rhythm section from Downchild. The musical quality, however, remains unfailingly high throughout, as Blain traverses the blues and roots landscape. The album has a light, relaxed feel to it, the main exceptions being the straighter blues tracks, such as the excellent Magic Sam influenced "Terrace Inn" which has more of a rocking groove. Every one of the tracks has a tale behind it, and they are all memorable in their own way. The closing track ("The Big Fire"), in particular, occupies a soft spot in Blain's heart. Every year he enters it into the "Songs From The Heart" contest, although he is still waiting to pick up first prize!

…a real grower, and rewards the listener with repeated plays, and every track has something to recommend it.

Rating: 8/8 - Gordon Baxter Blues In Britain September 05

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“Let's have a look at a new figure on the Canadian blues circuit. Brian Blain is a native of the eastern townships of Quebec. That's the portion of Quebec that borders on Vermont and New Hampshire. You're thinking to yourself that this isn't a likely setting for a bluesman. You're right!

Brian Blain didn't begin with the blues but played everything from Bach to the Beatles. Music has been part of his life for forty of his sixty years. Like many others, Blain learned the blues from an old 1964 Folkways LP by Jerry Silverman The Art Of The Folk-Blues Guitar. He learned his craft very well and is now an accomplished guitarist.

More importantly, Blain is a brilliant writer incorporating everyday experiences and situations into his lighthearted blues songs. Happily, the new CD Overqualified For The Blues is composed of a dozen original works and one cover tune. From the sentimental "Enfant Choisi" to the funny and topical "Hi-Tech Blues," the singer holds his listener's attention.

Brian Blain moved to the Toronto area fifteen years ago and uses many of that city's top musicians on the new album. The backbone of the Downchild Blues Band backs Blain on "Hi-Tech Blues." The title tune "Overqualified for the Blues" features harp ace Paul Reddick and ex- Janis Joplin piano-man Richard Bell. Guitarist extraordinaire Harry Manx appears on Blain's politically oriented "Peace."

Brian Blain's CD is a portrait of a folk-blues artist having fun with his music. He pokes fun at the music industry and especially the press with "One More Weasel." Thanks Brian! His "Saab Story" tells the funny tale of a girl and her car. Blain's guitar artistry comes to the forefront on the beautiful "Sailing." This reviewer enjoyed the guitarist's cover of Betty James and Edward Johnson's "I'm A Little Mixed Up." Brian Blain could put a smile on a gargoyle.

Reviewed by Richard Bourcier jazzreview.com, September 05

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And here’s my favourite review so far, a "haiku review" from Vue Weekly in Edmonton:

Storytelling Blues
A bit like David Wilcox
Only less annoying

The Launch

Here's a pic by Lily Sazz of me and the band at the CD launch at the Silver Dollar on September 30. That's Rod Phillips on organ, myself, Michelle Josef on drums, Victor Bateman on bass and out of the frame is sax player extraordinaire Pat Carey. I'd never played with Pat but I've heard him many times. I don't believe I ever heard him sound better than he did with me that night. Every solo he took brought the song to new heights. In fact, all the players were at the top of their form. Wish you were there.

I suppose we had about a hundred people but less than half paid - not surprising considering many of my friends are already on the media list at the Dollar. Northern Blues was very generous in buying a block of tickets and there were a few ticket giveaways from the local blues radio shows.

Note to self: If you're going to hire the busiest musicians in town, don't expect you'll be able to round them all up for a rehearsal at the same time and place. In fact it was very forward of me to expect these folks to rehearse but it's lucky that most of them did, because it made the whole ensemble seem pretty tight. I was complemented on my cuing of the band - not something I've ever done very well. In fact, many bandmates will attest that I've been known to give totally wrong cues - especially when I'm using a capo and shout out the chords as I'm playing them. Anyway, I'm beyond that now. I realize I just have to be very visible and articulate with my body language.

No reviews that I've seen for that show - maybe just as well considering it was the first time we played together as a unit. I have to say we rocked the house and a few people that thought of me only as a folk-blues artist got to see me kick up my heels.

Summer winding down

The Cd is supposedly in stores now and I've got a few launch parties
happening starting this week-end. I think every gig from now to February is
going to be a CD launch party. Since Monday I've been trying to have a
serious rehearsal schedule. Yesterday Michelle and Victor came over and
today, even though there was no-one but me, I managed to go over the tunes.
The big CD release batch is Friday Night at the Silver Dollar and the big
rehearsal is on Thursday. I shouldn't worry with musicians of this caliber
- they couldn't sound bad if they tried. I'm the weak link in this chain,
and as long as I am confident they will fit in just fine.

On Saturday I helped Julian Fauth celebrate his CD launch in Waterloo. Did
a few tunes and a couple with Julian. It was strange getting to the venue,
though. The Boathouse is located in the park in the middle of Kitchener and
when we went to drive into the park there were security guys keeping people
out because the park was set up for a big festival the next day. They had
their orders and they were unaware that there was something happening in
The Boahouse that evening. After driving around the park looking for
another entrance we came back to the gate and by then, the security guards
had been alerted. Makes you wonder how many people they turned away before
they figured out what was going on.

And this exciting news: I sold my first CD! I didn't want to sell it
because it's a promo and I'm not supposed to sell them but it was Julian's
mom and she wanted one real bad so I let her have it for a "special price".

I did three live radio shows in the last couple of weeks, playing guitar on
the air. Last night is was "Acoustic Workshop" and I played guitar most of
the hour.

Last week I went to a media showcase for a group from California, Nickel
Creek. The label rep asks me if I want to meet the band...and what do I do?
I rush off to catch the tail end of a board meeting that was getting along
perfectly alright without me. There was nothing preventing me from hanging
in there for a while longer, and yes, meeting the band. We just don't
change very much, do we? Reminds me of a phrase that still echoes in my
mind like it was yesterday, "...but don't you want to came back to the
green room and meet Joni Mitchell?" Of course not! Who would want to meet
Joni Mitchell? I'm sure the fact that I'm beginning to recognize and
acknowledge this dysfunctional behaviour means maybe I'm having another
growth spurt (at age 60).

I'm in total work avoidance mode and it seems like everytime I've got lots
of work, that's when I feel like writing a song or playing guitar. Now I
think I'll cut this blog short, but what have I left out: I sat in with Rod
Phillips and the Pie Guys last Sunday - played Hi-Tech blues with a new
groove that I was diggin on a Duke Robillard CD. I did a couple of tunes at
a Hurricane Relief Fundraiser and I started writing a song for the next
Katrina concert I get invited to. I went to see Pinetop Perkins playing
with a bunch of local blues guys and Prakash John, who is a phenomenal bass
player, not particularly known as a blues player, but he can do it all and
he did. The show was a bit of a Canadian debut for Yossi Piamenta, the
"Hassidic Hendrix" and he sat in with most of Pinetop's set. He also can do
it all, I bet. Everybody was thrilled to be playing with "Pine" and they
all had smiles pasted on their faces. Rod Phillips was playing organ and he
told me he was quite surprised that they played straight through for an
hour and a half. "Pine" has been known to give some pretty short shows.
Anyway, with a pick-up band like this, you tend to keep things simple and
he stretched the tunes out with a lot of rounds of solos. And the day
before that I was at my only Film Festival event - the "Gala" premiere on
"Walk The Line" the new Johnny cash biopic. The stars were in the house -
having arrived in 50's Caddilac limousines. An I loved the movie - I even
cried in one spot.

So what does any of this have to do with playin blues. Well I'm going to
stop typing now and get back to playing my guitar. Trying to make it a
daily habit. Stay well, B

Letter to an Agent: Dear John, I have to thank you for providing the
opportunity for me to play with such great players as Burke Carroll and
Chris Quinn. I was supposed to be doing this with Dan Whiteley but it was a
bit of a stretch for him - all the way from Belleville. I think the crowd
at the racetrack liked it - we started on time and all wore suits, too.

More Reviews

CD review - Brian Blain - 'Overqualified For The Blues'
-- by Joe Curtis --

'Colorblind' Brian Blain is one of the best-known blues afficiandos in
Canada. He's more familiar to blues and folk fans as editor of some
prominent music magazines including Maple Blues and Downtown Jazz. While
he's busy promoting and plugging blues, jazz and folk/blues through these
highly respected publications, he still finds time to perform live shows
several times a month, with his own original, ingenious material in folk
and blues venues around Ontario and elsewhere.

Blain's lyrics are timeless in that they deal with the everyday real things
in his (and everyone else's) life. For example: "? meetings, deadlines ..
(in publishing) etc" are described effectively and believably in the
appropriately titled "No More Meetings". Blain's artistic frustration is
shared with us when he's soulfully lamenting that "All the good paying gigs
are way out of town" -- in the profound but simply put "Blues Is Hurting".

Upbeat optimistic blues complaining figures prominently in "Overqualified
For The Blues". Although some of the issues dealt with in this
storytelling blues winner are negative, they're put across as happy,
expected jaunts in everyday life. Some mighty fine barrel house piano
playing brightens this catchy, people-friendly tune, courtesy of iconic
piano man Richard Bell. Bell is a much-sought-after session man whose
impeccable credentials include stints on the ivories in Janis Joplin's Full
Tilt Boogie Band; as well as a Hawk with Ronnie Hawkins, and in The Band,
performing at the original Woodstock in 1969. Bell's also a much-respected
sound engineer and session man who's always a joy to see in live
performances and friendly conversation. He's even been known to play a
little accordion at times.

"Enfant Choisi" echoes back to Blain's earliest beginnings in music in
Montreal, Quebec ... one of the hubs of French Canadian culture -- be it in
classical music, sculpture, rock icons like Frank Marino & Mahogany Rush or
die-hard folkies like Brian Blain. He sings this tune in Canadian
'Francophone, which adds to the charm of artistic expression in the vocals,
as only the artistry of the French language can evoke in one's imagination
and heart.

Speaking of ? Blain has plenty of heart, as exemplified in the rousing
blues/boogie whirlwind beat found in "Terrace Inn". His deep involvement
in the cyber world, whether it be for communication or publishing, is quite
evident in "Hi-Tech Blues". Lyrics like "My computer is crashing .. I get
a low down feeling with these high-tech blues", are a universal dilemma for
anyone 'hooked' up to the internet -- cyber junkies and casual browsers
alike. So a very apropos subject to talk de bluez away on ? these days.
The high-powered boppin' piano playing, combined with the urgency in the
frantic but mellow delivery in Blain's vocals, rocks like there's no end in
'site'. Mike Fitzpatrick of the Downchild Blues Band plays drums on this
tune. His hard-drivin' talent on the skins, ensures he puts every ounce of
percussive genius into complementing the hard-drivin' melody-infused
passages.

Blain bellows out "I'm a mixed up, mixed up, mixed up fool" in the upbeat
winner, "I'm a Little Mixed Up". The simplicity of its 'mixed-up' (play on
words) lyrics combined with the intense energy-laden delivery in Brian's
vocals, is pure genius at its very best! The impeccable rhythm section
backs Blain with a beat solid enough to bounce a ballistic missile off of.
This musical intensity is followed by the deeply intrinsic "Sailing" - a 4
minute melodic cruise, in which Blain shares his feelings about those whose
"time with us is past". For some strange, inexplicable reason, images of
the movie "Ghost Ship" come to mind in this writer's imagination. This
kind of underlying imagery is always a special feature of a great song,
that it can take the listener to other places not necessarily intended by
its composer.

"One Way Ticket", bounces along nicely. Blain's vocals declare "I'll take
a one-way ticket" - followed with this welcome nostalgic imagery: "Home run
hero on a small town team ? Had Johnny Bench written all over me." This I
believe is Brian sharing his interest in sports; coupled with his nostalgic
memories of long ago/but fondly remembered baseball games in the local
small town outdoor 'stadium'. Blain's guitar licks move along like a
home-run king's in this beautifully composed and very much nostalgic winner.

"Peace" speaks volumes of the peaceful '60s hippy movement, with its laid
back simply put message -- "We need peace in the world". These peaceful
sentiments echo back in the supportive background vocals, along with the
call and answer response from Harry Manx's lap steel guitar and Paul
Reddick's harp playing.

"One More Weasel" speaks with knowledge and experience of Blain's trials
and tribulations in attending and covering other artists CD release
parties, with "One more weasel talking at the back of the room." Blain's
vocals are backed with vigor by the genius of award winning and much
respected folk/blues/acoustic guitarist Michael Jerome Browne - one of the
finest talents on the Canadian and international acoustic blues scene today.

"The Big Fire" is the heartwarming and very special finale to this
beautifully crafted Brian Blain CD. Blain combines both French and English
language lyrics together with charming, whimsical guitar riffs that can
make the soul cry -- and cry out for 'more' of this impeccable artist's
deeply creative endeavors of the finest 'muse'-ical kind.

Artist: Brian Blain
CD: 'Overqualified For The Blues'
Label: Northern Blues # NBM0011
Year: 2005

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BRIAN BLAIN: OVERQUALIFIED FOR THE BLUES (NORTHERNBLUES)

Brian Blain is a singer/songwriter who always speaks precisely what's on
his mind, and he presents it through some highly affecting tunes, like the
baker's dozen delivered on his latest CD Overqualified For The Blues. His
engaging stage personality reflects his wide-ranging interests. The
unifying themes throughout much of OFTB are the small challenges posed by
ordinary life. They are given wonderful life by wry, perceptive, and gentle
observations on topics that run the gamut from the current state of Blues
(Blues Is Hurting), to reminiscences of a summer spent long-ago in a house
band in Quebec (Terrace Inn), and even the prevalence of boorish behavior
by the music media (One More Weasel). There's even a good-natured riff on
the complexities of modern life (Hi-Tech Blues). No More Meetings is quite
endearing with its revealing laundry list of meeting-related jargon,
obviously dedicated to people who work behind the scenes in Blues Societies
and other arts organizations (Brian's an expert in these matters). It'll
leave you chuckling like a finely honed George Carlin routine. Saab Story
is a poignant vignette about a boy, a girl, and a car. It's been garnering
lots of well-deserved airplay. On the occasions when Blain shifts emphasis
away from the folksy, easy-going side of the Blues, the results are equally
compelling. Sailing is a moving homage to a real life long-lost cousin who
died shortly after Brian began communicating with her, followed within
months by her husband's passing too. Enfant Choisi and the universal
message of Peace also explore serious themes with poignancy, passion, and
sensitivity. There's an army of collaborators too, most having played with
Blain at one time or other over his lengthy career. The overriding
impression remains that this is a winning combination: a warm, minimalist
sound in unison with Brian Blain's low-key, innovative muse that affords
everything an intimacy that will tug at those all-important heartstrings.

--Gary Tate

Reviews, Interviews, Points of View

Here is Dr. Feelgood in the brand new control room at CKLN.

This was the first of a bunch of interviews - we're already scheduling at least one radio interview per week and so far they all want me to bring a guitar and play a couple of tunes. Last Wednesday with Dr. Feelgood at CKLN was painless. Great to have someone asking questions who actually listened to the record. Davis even quoted some lines from a previous blog entry of mine. Megawd, some people are reading this - I better check my spelling. The station has moved into brand new studios
that were very well air-conditioned, as opposed to any other campus radio
studio that I've ever attended. I think I must make a point of bringing a
guitar tuner next time. I think I could have used it, but most people don't
notice these things.

After the show, we went out for a drink to a club where Julian Fauth was supposed to be playing - according to the MapleBlues magazine listings (yes, that's the one i (barely) manage. Well Julian wasn't playing, but a very earnest young woman was playing keyboards and singing jazzy/poppy stuff. Speaking of newsletter screw-ups, photographer Eddy B collared me at Healey's to tell me that (once again) I had run a photo he took without giving him credit. I was mortified - and here's a public apology to Eddy B for this and all the times I left off a photo credit. I don't suppose it's any consolation that, as he pointed out at the same time, I have give him a photo credit on the new CD and he doesn't have a photo on it. Well, ass they say in the world of desktop publishing..."Arghhh"

BB's B-Day

Here's the Shawn Kellerman Band at the House of Blues Voodoo Louge just outside the Molson Amphitheatre. It was a post-concert party to celebrate BB King's 8oth Birthday but BB couldn't make it. As the man said, "he *is* 80 years old." The Voodoo Lounge is a multi-level south-sea style patio bar. They gave away a beautiful Gibson BB King model. I never did see a cake. Maybe it came out later. Shawn Kellerman's band (with Douglas Watson on bass) were cooking up a storm - no let up - just one high energy blues tune after another.

For whatever reason, I received media accreditation for the House of Blues presentation of BB King's 80th Birthday concert at the Molson Amphitheatre in Toronto. I could never count on a media ticket with HoB - I think they have a limited (very limited) amount of media tickets and if all the daily papers and the TV stations want in, then forget this (barely)managing editor of a little blues newsletter. However Barry, a photographer friend had asked me to fax them a request so I put my name on it too...never expecting to get approved. In fact, I was planning on seeing British bluesman Steve Payne who was playing in town that night with Al lerman. Alas the approval came in the same day as the show and I made my way over in my car (first mistake). The CNE was on (that's the big national fair), Cirque du Soleil was also set up in their big top and when I got close to the Amphitheatre, I could see that parking was going to be a problem. After inching along for twenty minutes (the show had started by now). I pulled a quick u-turn into the CNE parking. I had to pay $23 to park there, and I still had a long walk but my trial was not over.

When I got to the box office there was no record of me. Finally after checking on every possible publication or organization I might be listed under, they finally gave me my ticket. And even though the box office was filled with fresh-faced kids, they were all working on their most intimidating expression and you could tell no one was ever going to pull a fast one on these kids. They would have fit right in with the civil-servant (fonctionaire) mentality of the 50s and 60s. Everything by the book. No power of discretion or individual thinking.

So what about the music? Well by the time I stepped into my (very good) seat , David Gogo was finishing his set with a big wah-wah finale and his own rousing tribute to BB. I missed Shawn Kellerman but then he was playing at the after-party so I got to hear him there and he too was on fire.

Kenny Wayne Sheppard played just before BB and he rocked the house. Three guitarists in a row that were putting out more notes than you would think possible - sometimes jaw-dropping virtuosity, other times a little over-excited. All this leading up to the most restrained (and refined) blues guitarist still living. Someone who would pride himself on mostly playing just one note at a time...but the *right* note.

BB played eight or so songs and he was in fine form. He might have been wiped when he finished the set, but you never would have known it. Except for the fact that he was sitting down throughout the performance, he sure was in good spirits and playing just fine. Even though he talked a lot in this show, it did not drag things down because he would start the song (usually with a guitar intro) before the applause had died down from the previous song. He gave his all to every song and when the fans were clamoring for an encore, when he stepped back on the stage he was wearing his hat and overcoat...his way of saying "I'm outa here".

Oh yeah, what about my little album??? Well, besides the fact that I should have been at home practicing instead of out listening to BB...a couple of reviews have floated in and as I bop about the web I find myself on various websites besides www.northernblues.com - there I was on Festival Distribution's website and Crowsfeet, our US publicist. Ontario and Quebec tours are taking shape and I'm gearing up for the big time. Today I did a big cleanup and found a whack of flat picks and I have strategically placed them throughout the house. Now I should put some in every guitar case and pocket. Never again will I be caught without a pick when I need one - although I mostly just use my fingers. Now I must remember to get to the nail salon this week and get some of that acrylic stuff put on my three most important nails...then I'm really ready for the big time

Here's the page 3 story in this month's MapleBlues:
http://www.torontobluessociety.com/lbn.htm.
Thanks to writer Gary Tate for all the kind words.

A month from the CD launch and things are starting to happen around here.
Confirmation on some Ontario dates and now a Quebec tour is taking shape.
Still would love to get to the New England Regional Folk Alliance in mid
Nov but it's too late to line up gigs in the states then wait 90 days for a
visa. They say the situtation is improving...I hope so, because I intend to
be playing a lot down there. I've made a determination to play every day
between now and the launch - no more leaving the guitar in the case for
weeks at a time. It's show time.

Last week I had a last minute request to fill in a couple of slots at the
Songwriterfest and I jumped at the chance, even if I thought it would
probably be sparsley attended. I checked in for my first set and I was
sharing the bill with a gal who was also parachuted in at the last minute.
She asked me to start it up because she was waiting for some family members
to show up - so I was ready to play, but then the family shows up and she
asked if she could go on first. No problem. She got 3 or 4 songs into her
set then the "family" all get up to leave...She says "stay for this last
song - it's my best song" Well they stand at the doorway and listen to a
few bars and then they're gone... I suppose it's about 50/50 whether you're
lucky enough to have family that support your music.

This has to be the first time that my big "découverte" (discovery) at a
festival is the festival director herself. I got to play with Mary Anne Epp
and heard her do some of her material and it was sweet - very sweet.

Still calling in favours and rounding up friends to help me get the word
out on the CD launch...and get some gigs. Solo, band gigs, big revues or
house concerts. If you're reading this, I guess you're a believer and if
you think you can help me line up a gig in your town drop me a line:
brian(at)blain(dot)com

There were a couple of media functions this week that would have been fun
but I missed them both - The Southside Shuffle was on Tuesday and my car
wouldn't start (anyway, I'm not playing it...so whatever...). Then Thursday
was a big bash to launch the Buskers' Festival. Except, Thursday morning I
get an email saying the launch is cancelled. I never bothered to RSVP and I
guess nobody else did either so they said "forget it". Reminder to self:
Have the courtesy to RSVP

Transit Blues

I think I witnessed a revealing episode that would certainly convince me to never depend on public transit in Toronto. Here I was waiting at a streetcar stop in the east end, right by the big yard where they park and repair the streetcars. From 6:30 to 7:00 pm I waited at the stop while one streetcar after another arrived at our stop but then turned into the yard. I guess the rush hour was winding down and they were finished their last run but can you imagine waiting through *eight* drive-bys before we actually got a car that was going west. There was a bit of grumbling as the level of frustration grew but the most visibly upset was a guy wearing a TTC uniform. It turns out that he was on his way to start his shift but he had to take a this streetcar to the rendezvous point and now he realized he was going to be late. After about twenty minutes he just started walking, but before he left he told one person that now he was going to be late to start his shift and you could see the exasparation on his face that the TTC was responsible for him being late...even though he's on his way to work for the TTC. Despite the gas increases, I'm still glad I've got my car and I won't be taking a streetcar until the next time it breaks.

A Launch Party

I started my last post saying what an "auspicious day", but last night I
felt I had a pretty "inauspicious" debut on one of the local
community/campus stations. They were to play two tracks from the upcoming
cd - the first one cut out after the first verse (which gave me a gasp
thinking maybe there was a problem with the pressings. The second track
just kept cutting in an out - it was painful. Ooooo welllll, here we go.

Now I'm trying to set up a CD launch tour for October. We will kick off
with a big show at the Silver Dollar - big band, extra musicians and
special guests. And I've got the city's most enthusiastic blues promoter in
my corner...Mory the Sockman presents...

Brian Blain's Hi-Tech Blues Revue
with Rod Phillips, Pat Carey, Michelle Josef and Victor Bateman
and Special Guest, John Dickie

Silver Dollar Room - Friday, Sept 30, 2005

now we have to find a few more gigs for this formidable band.

Last night I had an impromptu jam with some old friends from Lennoxville.
Chris Griffith and Des McKeowen played in High Street and when
guitarist/luthier Brian Monty came visiting they decided to have a musical
"soiree" and I was glad to be invited. I got the old Strat set up - had to
change one of the saddles that was stripped - and it was great to play that
old axe again. That's what I'll be using for the band gigs, I guess. There
were other musician friends sitting in - Larry, who played an acoustic
guitar set up much like mine and could get some really electric sounds out
of it and a young fellow called Adam who is studying guitar at Berkley.
Also Cliff Simon played - and he was really getting some great sounds out
ofhis SG with a single P90 pickup. We rocked the house in Georgetown (or
whatever that place was). A good warm-up for the band gigs I want to line
up.

We have product

An auspicious day! Just got the call from the record company - the CD's are
in from the manufacturer. The end of a long journey that began the week
before Xmas 2002. Or maybe this is just the beginning of the journey...
Anyway I've been working on my long-distance driving skills and have
discovered something called "Red Bull" which seems to help. All I need is
the gigs. Oh yes, I better get some promo together...and the website.
Still no confirmation on the European tour for September. Maybe I should
just start lining up some gigs closer to home.

Discovery of the week: Tony Furtado at the Dollar last Fri. I'm not one to
listen to slide all night (unless it's Harry Manx or Sonny Landreth) but
this guy blew my mind. Not a big crowd at the Dollar but I stayed till the
end and I'm glad I did. His slide on 5-string banjo was something to behold
- this was bluegrass on steroids if such a thing is possible - cranked up
by a phenomenal young drummer called Darien Gray (straight from the North
Mississippi thrash & crash school of drumming).

Off to pick up some CD's now.

Robben Ford

I've always been a big fan of Robben Ford and when I heard he was back at
the Guitar Workshop Plus in Oakville I got myself "wristbanned" into the
concert portion of the evening. He just played one blues standard after
another (hideaway, bad sign), some with other faculty members, the only one
of whom I recognized was John Tilden, whom I've heard in many contexts and
he is an expert at fitting in to whatever context. What was interesting was
when Robben handed over a solo to him he sounded more like Robben than
Robben. I don't know if Robben knew that Tilden could do that, but I
thought I detected a slight double take. It happened a little later on
another tune, but Tilden also blew away the crowd with many sounds and
riffs all his own. All the guitarists got applause after their solos and
when Ford asked who in the audience played guitar, virtually every attendee
raised a hand. He had a long spot in the middle where he gave tips and
took questions.

The first batch of questions were from younger members of the audience who
asked nothing but questions like what was it like to play with..... Robben
patiently answered every question but it reached a ridiculous point when
this kid wouldn't let up asking which songs on the George Harrison album
had he played on and which leads were his. In the end he joked "actually I
don't play very much on those tracks..." Others wanted to know about his
connections with Miles Davis and other jazz types. They stuck to the blues
for the live performance though and it was obvious that the blues figured
prominently in the shaping of all these young guitarists, most of whom will
take a sharp right into rock guitar.

Robben's advice to them was "When you're playing rhythm guitsr, think of
yourself as a drum. If a drummer can spend all night doing
'boom-chick-boom-chick', there's nothing wrong with chopping out a
repetitive rhythm part for 12 bars then maybe changing it up a little" He
said he had as much fun playing rhythm as he did playing lead. But it's his
lead riffs that give him that immediately identifieable guitar sound. If I
though it was his gear that provided that sound, I was proven wrong because
he was playing a very stripped-down set up (a Les Paul guitar plugged into
a Fender Vibro King amp - borrowed from John Tilden). And that signature
sound was right there, if not off the very top of the show, but by the
second tune he had it. I had been on his web site, reading what appears to
be a blog from his guitar tech who goes into great detail about the gear -
obviously cares more about that stuff than Robben

The setting at Appleby College is very "old world" quite something,
nestled on Lake Ontario. I did a gig there a long time ago with Scott
Cushnie ("Professor Piano") who had actually lived on that campus as a
child when his father was headmaster.

Hubert Sumlin

I definitely wanted to be back in Toronto for the Hubert Sumlin appearance at the Silver Dollar. I had the rare pleasure of playing with him last winter at a blues matinee and he was very complimentary about my playing. He particularly liked the song "Overqualified For The Blues" - he got a real kick out of it. I saw him again the next day at a big Tribute To Howling Wolf Concert but it wasn't till I saw someone slipping him a CD that I realized I should give him an advance copy of mine. But the CDs were in the car and I never got around to it. Now that he was back in Toronto I wanted to be sure to get him a copy of "Overqualified For The Blues"

When I walked around the corner I saw a line up outside the Silver Dollar like I have never seen before. It was such an unfamiliar situation at the Dollar that I decided to just take my place in the line (rather than elbow my way to the front like some media mooch). Soon I saw Gary Kendall outside though, and I cut short an interesting conversation to go up to him and ensure that I was still "on the list".

Inside it didn't seem so full but it soon became a real crush (I found out later that some stories had suggested Keith Richards might be sitting in). Well, there was no Keith Richards and Hubert sang and played his heart out all night long (and apparently hung out for an hour afterwards talking to fans). Some reviewers were less than complimentary about his singing and the whole show was a little rough around the edges but, as far as I'm concerned, Hubert really pulled it off.

I was surprised to see "Boogie Bob" Baldori playing piano and harp for him and Bob led me down to the "Green Room" where we would have found a Rolling Stone if there had been one in the house. Instead, the room was filled with women fawning over Hubert - many whom had met him before, I guess. I did go up and introduce myself and he seemed to remewmber me. When I said "Overqualified for the Blues" he remebered and turned to the women starting to say "This guy...." Then he was cut off by another woman introducing her sister to him. I'll never know whjat he was going to say aboutme but I slipped him a CD. Hope he enjoys it. He said he was going to listen in his hotel room - that he had brought along a portable radio.

Hubert was inspiring to watch - he put on a great show show and did not play the frail old bluesman - though he has every right with one lung gone and surviving cancer. He was enjoying every minute of it.

Just back from two weeks in "Old Cape Cod" - only to hear the news of Long
John Baldry's passing. I knew he was in bad shape. Butch Coulter, who plays
harp with me on occasion was Baldry's harp man for 20 years and was
supposed to be touring with him in September. That tour was cancelled
months ago when John couldn't even breathe without a breathing machine.
Ironically, at the end he was able to breathe on his own for a couple of
days, and friends expected him to rally, but then the infection came back
and it was game over. Farewell, Long John.

I had met John and his crew socially a few times when they came through
Toronto. I remember this wild lady called Tova who was his unofficial
Toronto reception committee and hosted a continuous party at her place on
Davenport Road. One time I had to give Long John a lift from a gig in North
York down to Tova's place. It was just a ride straight down Bathurst
Street, and I coasted through a couple of yellow lights on the way. Well,
John was not amused - he gasped each time and his knees pulled up even
closer to his chin than they already were in the passenger seat of my
Toyota Tercel. I gather he was even more nervous in aeroplanes, and was
probably just as uncomfortable with the limited leg room.

A couple of years ago, Butch called me at the last minute to sub on guitar
with him and Baldry at a club date outside of Toronto. I'm no jobber, and
had no idea of the repertoire but Butch said Long John would be playing
guitar and I could just "play along...add to the groove". I took the gig
against my better judgement but we had a lot of fun. I'll always treasure
those words he spoke to me after the first tune...with that authoritative
tone and formal accent he leaned over and said, "I'm afraid you'll have to
turn down that guitar, son..." I also remember that he was quite
meticulous with all the paperwork, getting me to sign a receipt with
copies in triplicate... and then he paid me more than agreed upon - I don't
think that ever happened to me before.

Did I say I would be posting every day during the jazz fest. Well, sorry to
the 3 or 4 of you who check this regularly, it got pretty hectic, what with
my desktop publishing and web duties, but mostly with the gigs. Man, on
Sunday it was like 3 gigs in a day. An afternoon set at the Distillery
Ribfest, then an early evening rehearsal with Andrew and John and then
hosting the after-hours jam from 1-4 am at the Rex Jazz & Blues Bar.

The jazz festival always gets extended hours (for serving liquor) for a
club or two for the duration of the festival and this year the Rex was the
destination. They hired me for two nights and called it an acoustic blues
jam. Well, I should probably have brought a rhythm section rather than
fiddle & mandolin, but we had an amazing time (even though we had to play
without a bass player for a while).

There has never been a blues jam anything like this in Toronto (and we have
had many blues jams). The first night we had many of the jazz stars that
had just played in the tribute to Dizzy Gillespie on the main stage and
that included Roy Hargrove (who was the first jammer to arrive and the last
to leave), Antonio Hart, other horn players whose names I can't remember
but who are quite well known in the jazz world. Plus we had the entire
rhythm section of Roy's band, RH Factor, that were playing the next
evening. Then on the second night, Roy didn't come back, but the rest of
his crew did plus guitarist Russell Malone, who launched into a blues
guitar duel with Todd from Roy's band and they raised the roof. (Ooops,
just got a call from my soundman and I'm outa here - I have to be on stage
at 2 (that's pm today, not am)

BluesBlog: A night at Downtown Jazz

Jimmy Bowskill took the stage at midnight at the Toronto Downtown Jazz
Festival for the first of two "Midnight Blues" shows to be held during the
festival (next Saturday it's Rita Chiarelli). Jimmy made a lot of new fans,
as he always does - it will be a national pastime watching this wonderful
young musician evolve. The festival has never presented a lot of blues on
the mainstage and except for Dr. John next Sunday, these midnight shows are
all we've.

However this year, the after hours "hang" that receives a special license
to serve liquor until 4 am, will not be at Traders's Lounge as in previous
years but at the Rex and Sage, and for the first time ever, a couple of
nights at the Rex will be dedicated to the blues. That's tonite the 26th,
(Sunday) and Monday the 27th. Many festival artists drop in to jam, though
it's impossible to predict what will happen. Last year, Wynton Marsalis
came by after his concert and played for hours - hardly left the stage.
Then he couldn't play his date at the Montreal Jazz Festival because he
wrecked his lip having too much fun in Toronto.

I have been invited to be the host for the two blues evenings - this will
be reminiscent of my Thurday residency at the Tranzac where I had the
opportunity to jam with the most amazing players every week. My special
guests at the Rex will be John Showman and Andrew Collins, fiddle and
mandolin respectively, from the phenomenal Creaking Tree String Quartet,
who blend all genres of music, classical, bluegrass, jazz... and now
they'll be getting into the blues!

Blues players: I hope you'll consider coming out or dropping by after your
gig. If you have a complete band, you're welcome to do a song or two with
your guys. Please talk to me when you get to the club. I'll have the jam
list. Otherwise I will be having fun creating some some spontaneous
combinations players.

Blues Fans: Please come to Rex if you're still awake at 1am. The blues was
meant to be played at this late hour! Sage will ne presenting DJs into the
wee hours.

The Rex Jazz & Blues Bar (we need to continuously remind them of their name)
194 Queen Street West. (2 blocks west of University Ave)
Sunday and Monday, June 26 & 27 12:30 to 4AM

If you have any questions call me at (416) 461-0638 brian@blain.com)

***This was today's submission for my "blues blog" ahere I write about
books I've read and listened to it acoustivcally. Now I better go to bed.
In addition to getting a newsletter to press this week-end and keeping all
the on site computers working, I've been trying to get the old Epiphone out
of the case in preparation for my gig this afternoon at the Distillery Rib
Fest (I play from 1:30-2:30). The Distillery is also featuring an art
exhibit and a Farmers' Market. Check it out (at the foot of Parliamemt
Street)

And since I'm sending this to the world, let me also remind you that my
"bluesgrass" trio will be performing on Wed the 29th, Thurs the 30th and
Friday July 1st at the Bay Cafe at Bay & Queen - kitty corner to the Jazz
Festival site. We'll be playing from 2:00 to 4:00pm.

Hope to see you out at one of these gigs. If you'd like to read my blog,
it's posted at http://brian.blain.com. I' ll be trying to post daily during
the festival (something I've never eben approached in the past...but it
makes for interesting reading if you're going through something similar.
Putting out a CD, scrambling for gigs and media, and trying to carve a
"profile". If you need my Electronic Press Kit (EPK) go to
http://www.brianblain.ca. My page at NorthernBlues Music is
http://www.northernblues.com/bio_blain.html

Yhanks for reading all this

It's the story of my life...well not all the time. I get to hear a lot of
great music in Toronto, but it never fails that when there is the most
abundant selection, during the ten days of the Downtown Jazz festival, I
end up missing the greatest stuff. And the irony is that it's because I
work for the festival and last night, like every year, I was scrambling to
configure computers and modems and routers in for the media people and the
transportation people who were setting up on site, and this time it was not
coming together quickly. And meanwhile there's all this great music going
on. I just had to see Duke Robillard, my favourite guitarist, so after
picking up a wireless router at a computer store on Spadina I poked in to
the Silver Dollar to hear a bit of Duke. The minute we sat down he ended a
tune and announced a break. I though we had enough time to run down to the
festival site and plug in the new router then make it back to catch at
least part of his second show, but by the time we got back, we were only
able to catch the last tune. Then over to the Phoenix to hear Antibalas, an
amazing Afro-funk groups. Once again, we catch the last tune. And still
the router was not working.

Anyway, today worked out a little better and we got all the computers
working fine, but not until after the opening ceremonies (which I missed,
of course). Then another afternoon of running around - missed a show that I
was very anxious to see, David Murray, but tonight I sat for the whole
concert of Sonny Rollins in Massey Hall and that was a delight. After that,
heard a few tunes of the Tim Ries Rolling Stones Project (jazzy versions of
Stones tunes) and before heading home, I dropped in on Mark Stafford's
Harmonica Knights at the Silver Dollar. I had hoped to play a little
myself, I've got two gigs on Sunday, but alas, that was not to be. Tomorrow
is another day (and one where I want to be sure to hear organist Tony
Monaco at the Mod Club)

Things are coming to a head. Today I picked up the proofs for the CD
artwork - it looks great. We had *many* late night phone discussions over
the last few says as we made our way onto the home stretch. I think I've
been very flexible about things, though others may disagree. Now I have to
put it under the microscope and while I proof that, I have to put out
another MapleBlues. I've got the layout mostly done...boy it's weird to be
at both ends of a similar predicament when one minute I am hearing excuses
from my designer and next minute I am making excuses to my publisher. And
none of this has anything to do with music.

On that front, I realized I better head over to the bluegrass jam at the
Silver Dollar to set up a rehearsal with the guys that are playing with me
on Sun (not so far away). They weren't there, as it turned out so the
search begins. I did speak to my sub mandolin player but I don't think
he'll remember the conversation. We sat in the outside "smoking lounge" and
there I listened to Dan and Jenny Whiteley singing some sweet, spontaneous
harmonies.

This was the first night of jazz festival "preview" events and I was too
late for the hip-hop thang at the Phoenix. At the Rex, there was the
Annual "Players Party" where all the musicians get together before the
festival. I was there for a while and heard some amazing players...Reg
Schwager on guitar, Tania Gill playing some "legit" jazz piano and nailing
it - I've only ever see her doing her "offbeat" thang. Victor Bateman was
leading the jam, and I stood there wondering what I would do on a stage
with musicians of that caliber? I suppose it will happen some day, and I
have no idea what I'd do. Play the blues, I guess.

Last night was the National Jazz Awards gala and that was a star-studded
evening. Lots of music...and lots of speeches too. Tomorrow I must see the
Tim Ries Rolling Stones Project - horn players from the Stones band doing
jazz arrangements of Stones hits...in a jazz club. Except my my Duke
Robillard is playing the Dollar (an 8 o'clock start). Oh yeah, I should
have a rehearsal too...even if it's only with myself.

Well they practically did in this old blues guy today. We played from 2:30
to 4:30 in the blazing sun on
the hottest day of the years (so far)...on an uncovered stage. My musicians
were worried for their instruments (Andrew wouldn't use his acoustic
mandolin) and the bass player following us was ready to walk. Me, I played
the gig, but I'm sitting here feeling what must be heatstroke. If I lay
down and don't wake up, then I want everybody to know I died with my boots
on.

Danny Brooks saved the day and actually went and found a patio umbrella and
brought is up on the stage to give me a little shade. Danny and Dennis were
very complimentary - said I was the real deal, stuff like that. Very
encouraging. Musicians especially have been very complimentary and it's not
always their nature. I was talking to a great singer last night (well, it
was Laura Hubert) and I heard her echo some sentiments I've been feeling
lately - Something like "I can't get arrested in this town". And I thought
(but never said) "that's cause you're different, girl" And I hope that's
what they would say about me...even if it gets labeled "novelty blues."

MOATM: Danny Marks'<a href http://www.jazz.fm> Bluz.fm </a>

One down, two to go (maybe 3). I love these festivals. Orangeville is far
enough out of Toronto to escape that "blasé" we've-seen-it-all vibe. We
were playing in an artists' studio at the back of a cute arts & crafts
boutique (well, let me give them a plug - it's The Dragonfly at 189
Broadway in Orangeville).

We had artists painting along as we played and a small but attentive
audience who really got into the music. They enjoyed whatever Andrew and I
were putting down although there was one request - a gentleman came up to
the stage and handed me this note, for which I was very appreciative about.
I'm going to post it later as soon as I scan it. Drop by again to check it
out.

After packing up, I took a little walk down the street to hear some of the
other bands. I heard Johnny Max rocking out with that great guitarist Kevin
Higgins. Then I dropped in on Gary Kendall's band to hear some more fiery
guitar work from Teddy Leonard. Phenomenal. I'm standing there groovin to
the music then Gary announces "we've got some celebrities in the house" and
I'm looking around and he points over to me! I don't think anybody in that
audience knows who I am, but they applaud anyway. I'm still looking around
for the rest of the celebrities, but apparently I was "it". Now I might
have started to grovel in the irony of all this except after that I walk
over to the club where Chris Whiteley is playing and Chris also makes a big
deal from the stage (what's going on?) and this time, "Brian Blain is in
the house" and this time I'm coaxed up to the stage to sing a number. I
got up and did a slow blues on Chris's big Epiphone jazz guitar - and
before I even picked it up I remembered that guitar as having monstrously
heavy strings the last time I played it, but this time it was eminently
playable. Victor Bateman was playing bass and Dan Whitely was on guitar

I did "Girlfriend Blues." Did I ever tell you about the time I sat down at
one of the outdoor stages at last year's Distillery Jazz Festival to hear
the Victor Bateman Trio and Victor launched into a slow blues with an intro
that sounded ver much like something I wrote. Before I could start feeling
"ripped off," Victor started singing the lyrics and I realized he was doing
"Girlfriend Blues". He had learned my tune! What a trip. I think my
reputation is preceeding me - by the time I get to the "mainstage" level,
I'll already be famous...we'll see.

All in all, it was a very gratifying evening in Orangeville. The venue
owner had a great time - one of the artists that had to listen to the whole
thing from start to finish said she never had that much fun painting.
Andrew and I each got a little gift basket with a nice hand-made mug. I
need more gigs like this

Colorblind Blain's Blues Blog

Colorblind Blain's Blues Blog

Album update: Still waiting on the artwork but I'm sure it'll be great once it's done. Now that we're into June, it probably makes it had to have an August release. So it'll probably be September. I gave an advance CD to a local blues radio show host, more for his feedback than any spins, but last night I'm listening to his show and low and behold there I am. Interesting to hear it coming over the airwaves into a cheap ghetto blaster. The vocal really stood out, which is what we were striving for (and which was a great challenge considering the vocal mike was only an arm's length from the drums). Anyway, right after the show I get a call from a promoter friend who says he was drawn into the song and wondering who the hell it was - and was pleasantly surprised to hear it was ole' Colorblind hisself.

Gig update: Maybe you'll get a chance to catch me doing my "bluesgrass" thang this month. We've got three festivals, starting Saturday night:



Saturday June 4 (with Andrew Collins, mandolin)
7:00 - 10:00
Orangeville Jazz & Blues Festival
Dragonfly
189 Broadway


Saturday, June 11 (with Andrew Collins, mandolin and Chris McKhool, fiddle)
2:15-4:45
Distillery Blues Festival
Rack House Lane Stage

Sunday, June 26 (After Hours Acoustic Blues Jam w/special guests Andrew Collins and John Showman of The Creaking Tree String Quartet)
12:30am - 4:00am
Rex Jazz & Blues Bar (Downtown Jazz) 194 Queen St. W 416-598-2475

Monday, June 27 (After Hours Acoustic Blues Jam w/special guests Andrew Collins and John Showman of The Creaking Tree String Quartet)
12:30am - 4:00am
Rex Jazz & Blues Bar (Downtown Jazz) 194 Queen St. W 416-598-2475

Wednesday, June 29 (with Andrew Collins, mandolin and Chris McKhool, fiddle)
2:00 - 5:00
The Bay Jazz Cafe (Downtown Jazz) Queen & Bay St

Thursday, June 30 (with Andrew Collins, mandolin and Chris McKhool, fiddle)
2:00 - 5:00
The Bay Jazz Cafe (Downtown Jazz) Queen & Bay St

Friday, July 1 (with Marc Roy, mandolin and Anne Lindsay, fiddle)
2:00 - 5:00
The Bay Jazz Cafe (Downtown Jazz) Queen & Bay St

This will be my first time playing with most of these folks, but I know it's going to rock. I think I better cut this blog short and go run over a few more tunes. Hope you can make it out to one of these gigs. I think you'll enjoy what we're puttin down.

I usually ramble on about all the great music I've heard since my last post but I'll save it for the next entry. You can view the blog anytime at http://brian.blain.com.

You can view my new EPK (Electronic Press Kit) and hear 3 tracks from the album at http://www.sonicbids.com/brianblain

Thanks for your interest in my music. BrianB

May so far: Lots of progress. The CD has been re-sequenced and now ready for production. The design is going to move fast now that I've approved the cover. I have to get some advance copies out to any folks who are likely prospects for a good quote for the one-sheet. Listening to the CD again tonite, it came together in a new way. I hope this is a CD that will grow on people...maybe get played more than once or twice on the blues shows. We'll see.

After making up a nice poster for my "Motherless Day" gig and creating a .jpg (scroll down to view it) I never got the word out to my "Fanlist". What's worse, the email addresses of many new fans are not even transferred over to the computer, yet. I must send out a june update, since I have a remarkable seven gigs in June - remarkable for me, anyway. Not for long, though. There's bound to be some folks that will want to see me live and when they do, I'm confident I can plauy them some good blues and put a smile on their face, too.

Last night I went to a native-style pipe ceremony where Ifound myself in a gathering of intersting folks. Several were planning trips here and adventures there and I started to look forward to doing some touring because that will be like getting paid to go to new places. I always have a little trepidation at first, but I get into it. I am a terrible navigator though. If there's a possiblity of a wrong turn, I'll probably take it.

Anyway, B.T., our guru/shaman mentioned that in our meditation we should try to visualize the light pouring forth out of our skeletons. That was an easy one and it felt great - especially when we goy into very deep silence. He also invited any unknown ancestors to manifest themselves and sure enough, the moment he said that I felt the presence...well I felt transformed for a moment into an elderly Indian lady (squaw, I guess) with head tilted a bit and braids in my hair. Not saying much, but observing and gathering the wisdom to be dolled out at the appropriate time. That was an interesting moment. I want to go looking through Remmington paintings and 18th century photos of natives to see if I might recognize my great-great-great-grandma.

Join us on Motherless Day

Finally got to see the design for the CD and it's brilliant. Even though it doesn't make use of the promo pics I provided, it's got a very recent snap of me on the cover and an interesting concept. I'm ready to roll with it and Fred L. just called from New Orleans to give his OK so we're definitely in the final phase.

I've settled on a band format for festival gigs in June - it'll be me on the resophonic with mandolin (Andrew Collins) and violin (Chris McKhool). I'm going to miss having piano, bass & drums but this way we've got a very mobile configuration and I intend to make use of that and do some "strolling"

Three shows I wanted to see in a row last week - The Mississippi Hippies at Hugh's Room (didn't make that one), Blue Room then Carlos del Junco at the Dollar. Carlos band was tight as hell - coming off three and a half weeks on the road. Shawn Kellerman playing guitar and covering admirably for Kevin Breit on the far out stuff, but mostly laying down some solid blues - that's what the folks wanted and that's what they got.

I'm told we can get regular CBC Arts updates just by pasting in this URL:

http://rss.cbc.ca/artsnews.xml

Entering the final phase

Finally got to see the design for the CD and it's brilliant. Even though it doesn't make use of the promo pics I provided, it's got a very recent snap of me on the cover and an interesting concept. I'm ready to roll with it and Fred L. just called from New Orleans to give his OK so we're definitely in the final phase.

I've settled on a band format for festival gigs in June - it'll be me on the resophonic with mandolin (Andrew Collins) and violin (Chris McKhool). I'm going to miss having piano, bass & drums but this way we've got a very mobile configuration and I intend to make use of that and do some "strolling"

Three shows I wanted to see in a row last week - The Mississippi Hippies at Hugh's Room (didn't make that one), Blue Room then Carlos del Junco at the Dollar. Carlos band was tight as hell - coming off three and a half weeks on the road. Shawn Kellerman playing guitar and covering admirably for Kevin Breit on the far out stuff, but mostly laying down some solid blues - that's what the folks wanted and that's what they got.

I'm told we can get regular CBC Arts updates just by pasting in this URL:

http://rss.cbc.ca/artsnews.xml

A crazy week full of deadlines but in the midst of things I think weève got the OK for the final master - except weère going to change the sequence again. Photographer (and phenomenal drummer) Don Vickery took a few snaps of me at the Montreal Bistro and I sent a couple tp Èthe manÈ whoès doing the CD design. This is as much as I want to harass him. You canèt rush genius.

And here in Toronto on the same night we had Lucky peterson and Ike Turner. I heard the first part of his show it it was non-stop flashy-guitar power trio, and it would appear one of his trio didnt make it across the border because drummer Tyler Burgess was sitting in on drums and Rick Levinston brought over a keyboard and they got it set up for the second set.

meanwhile I took off down to the Reverb Room to hear Ike, thinking he would be starting last but alas, at midnight they were winding down. We heard a couple of tunes and what a tight 10-piece ensemble fronted by a Tina Turner clone. I ke was resplendent in a white pop-art jumpsuit which only accentuated his hardened lines. Somebody said he might be seventy-five. I dont believe it. What I heard was a veryt tight band with Ike on the wah-wah leads playing the Tina-era hits.

When we got back to the Dollar, Lucky was at the keyboard and played some funky then beautuful tunes. Then he grabbed the mikestand, dragged it onto the floor and sat at the edge of the stage and got up close and personal wityh the audience. Nice vibe. He said ’two weeks ago I was a no-show but tonight i was a SHOW’ and he was telling the truth. He played some amazing stuff till way past 2:00 and even thogh he probably avoided some of the newer material, he put his own stamp on every blues nugget he pulled out.

Mercury is retrograde.

Fred (the label owner) has vetoed my latest sequence so it's back to the drawing boards. The artwork is not done, maybe not even started for all I know...by a certain "Man" . So I've got to burn one with the new/new sequence and hope that this is it! And for those that were hoping for a Mothers' Day Release, it ain't gonna happen. How late does Spring go?

Then today I received a nice thank you letter from the promoter of the Leadbelly Tribute Concert along with some clippings and I think I just got my first bad review. I can't believe it! It reads in its entirety: "...Meanwhile Blain's country version was given teeth by Price." Given teeth??? I've got teeth - I gave it teeth! (the reviewer is refering to our respective renditions of "John Hardy" at a big Leadbelly tribute concert. I had to learn two Leadbelly songs and I just requested the first couple that took my fancy on my only Leadbelly album.

The featured artists were many I knew. The Whiteleys, Paul James, Michael Pickett and this guy from England called Peter Price. He's the guy that supposedly has more "teeth" than me. The song was "John Hardy." Brian played the song pretty fast and the new guy took it a lot slower (and, I dare say, more precise) than I did. I was just trying to get things up to "cookin" temperature, and it didn't hurt that I had Ken Whiteley himself backing me on mandolin.

He started playing along just as I was running over the tune in the Green Room, so even though I thought it's probably some kind of breach of protocol to get the headliner to come on stage with you, I invited him to join me and he was *there* I was very glad a spent an extra night running over those tunes.

The night before that concert, I stayed home and practiced those two songs instead of:

1) Buddy Guy at Massey Hall (Lucky Peterson was AWOL, but he's coming to the Dollar next week)
2) Ain't Misbeahavin "Industry Night" (I got to see the show a few days later - phenomenal singing and playing)
or, 3) Rita Chiarelli at Hugh's Room

and there was other great stuff. The other night, Sugar Ray Norcia at the Dollar and Powder Blues from Vancouver at Healeys. Jay McShann was playing the Montreal Bistro and I saw Holger there and dragged him up to the Dollar to see Sugar Ray. (Jay was magnificent, and Jim Galloway said that over the course of a three-nighter he hardly repeated a song.

Speaking of Healeys, they had a little anniversary party and managed to bring back that special energy that permeated the place when they first opened. The musical guests for the evening was rock-deity Ian Gillian of Deep Purple. There he was screaming "Smoke On The Water." Ran into Nick, who recorded my big single "The Story of the Magic Pick" in 1973.

Good jazz is when the leader jumps
on the piano, waves his arms, and yells.
Fine jazz is when a tenor-man lifts
his foot in the air.
Great jazz is when he heaves a piercing note
for 32 bars and collapses
on his hands and knees.
A pure genius of jazz is manifested
when he and the rest of the orchestra
run around the room while the rhythm section
grimaces and dances around their instruments.

                                      Charles Mingus

First day out of the house all week - I finally got struck with the cold that knocked out everybody around me over the past couple of months.

I had my mastering session booked today and no way I could miss that, I've been responsible for enough delays in getting this CD out. Now I can blame any firther delays on a man called...oh maybe I shouldn't use real names in my blog. Let's just say he's a man who designs CD covers who always has someone waiting - but that's only because he's got a lot of people who want his services. And now that I've rushed to get it mastered, the record co prez is going to the coast for two weeks and I'm still going to have to wait. Hurry up and wait....except I find it easier to wait than to hurry.

Of course with a CD coming out, I can't just sit around waiting for people to invite me to gigs. I'm getting pro-active, and I've got help. Alyson has been following up on some festivals and presenters who received an advance copy of the CD (though they probably never listed). Anyway, all the festivals are booked - Easter is too late to be booking festivals, though I've been know to slip in at the last minute.

This year I'll have a nice mobile (almost strolling) acoustic blues setup - with myself on a resophonic guitar and fiddle & mandolin.

Anyway, back to the mastering. After lots of discussions and recommendations and dis-recommendations I finally said "to hell with it, I'm just going back to the guy that did my last CD" - a known quantity. As opposed to an elite group of miracle workers (or brutal destroyers of perfectly mixed music - depending who you were talking to. I thought the mastering went well - I still haven't heard it on my system - the tracks were defenitely sounding more cohesive amongst themselves - whether it sounds like a record remains to be seen.

Then tonight I couldn't resist going out to the Silver Dollar to hear Coco Montoya and boy am I glad I did. It doesn't get much better and obviously the word was out because the place was overflowing - and I don't think they expected it. It looked like they had only two waitresses working.

Here what I learended from Coco Montoya: Maye every gig a special event. Make every song a feature. And make every solo build and build until the audience is on their feet (or on their toes if they were already on their feet). And I hope I picked up a few guitar licks too!

As the month winds down, I'm into full-tilt newsletter production and trying to get ready for a mastering session at the end of the week. The CD artwork is taking longer than expected though we expected it to take longer than expected. Anyway, I'm going to decide on a final sequence and get this sucker mastered. I got so many contrary opinions about different mastering studios that I'm just going back to the place where I did my first album. It's all voodoo, anyway. Meanwhile I've picked up this cold/flu that's been going around so I running on one cylinder - don't know why I'm here updating this blog. Seize the moment, I guess.

Just did a bunch of dates opening for Harry Manx and that is always a treat - an audience that came to *listen*. I've picked up a couple of festival dates for June, but they are not listening situations and I'm trying to figure out what kind of format to use that will provide a more high-energy (louder) performance than my usual laid-back self. I had suggested myself on resophonic guitar and two tenor saxes but the prez (my record company prez) prefers that I do something that's a little more like what we've recorded. In that case, I should stick to the "Bluesgrass" trio idea, mandolin, violin and guitar. Still haven't found the fiddler of my dreams but I'm going to speed up the search.

My next gig is a leadbelly tribute concert and I'm frantically trying to get the lyrics for the two songs I've agreed to play, "when I was a cowboy" and "john hardy" Yeah, that's what I should be doing right now!

Blues In The Schools, BITS for short, is something I've been writing about and promoting but this time I wa right there on the fron lines (and it's pretty frightening, folks). Still, we had fun with the kids and maybe they picked up a few little scraps of knowlewdge whuch will enrich their lives. Man was I exhausted when UI got home from a day of that. Quite draining, actually.

Day Three at the Folk Alliance. Up late again the night before. I wanted to see a bit of the exhibition area but I had a 5p showcase so I had to move along pretty quick. In the entrance to the trade show, I ran into Gilles Losier, a fiddler I hadn't seen in years and we just got out our instruments and started jamming (as many others did throughout the hotel and convention centre). We were joined by Lan, the erhu player from the night before and Gilles and she got on great (he was already familiar with that 2-string Chines fiddle). My showcase went fine but I was starting to run out of steam. There was one lady in the front who was cracking up throughout the set (who are you? where are you?) and this time my friend Alyson was snapping stills and video of the set. This was the showcase where I broke a nail - I like to make a big deal about it...I broke a nail in the middle of a Folk Alliance showcase. I've even got a little video souveneer of that!

That night I jammed with the Lee Boys, a scared steel outfit from Florida. Hard to imagine they fit everything into that room, drums and all. And if you know the Lee Boys, you will have noticed that they are all very large fellows. As I was walking down the hall, I poked into a room where Digging Roots wre playing - I thought it was a showcase but I think now it was just their own room. We'll I had been standing in the doorway for only a minute or two when Raven stops playing for a minute, grabs a guitar from behind the dresser and hads it over to me. That was a nice thing to happen. I stuck around and played non-stop for a couple of hours. Another couple were jamming with us too, they were called "Redwood Central" - the harmonica player played along on a couple of my tunes and it fit perfectly. Michelle the singer had that "high-lonesome" sound I like so much. I played for quite a while on a steel-bodied resophonic, and though it's a little heavier than my wood model, I think I'd like to get one.

Day Two at the Folk Alliance was gangbusters. Of course I slept in past any of the panels and workshops - I was up till 4:30 am jamming with David Jacobs-Strain, Guy Davis, Syd Cassone and Linda Tillery and most of her Cultural Heritage Choir. Some beautiful harmonies were wafting through that hotel room. I was so glad I had brought my bass and amp. I played it real quiet - maybe too quiet because I realized at one point that I was guessing the ket because I couldn't quite see where Guy Davis had his guitar capoed. I realized after a chorus and a bit that I was playing in the wrong key (half a tone flat, actually). I stopped for a bit then slipped back in but I was mortified that someone with more sensitive ears than me would have had to endure that. Nobody said anything, or looked over so maybe it was so low that they couldn't tell either.

I guess I should say the best part of the day was my own showcase. There was a small group in the room and some lurkers in the hall. I think everybody had a pretty good time including Fred, the owner of my record label. I had a few friends in the front who sang along on Saab Story and that was cool. Fred told me that the NorthernBlues Sampler (which includes Saab Story) is currently in listening posts in Borders stores all across the US.

I was not very encouraged by the American agents I spoke to. They do not relish working with Canadian artists (unless they have dual citizenship like my pals Michael Jerome Browne and Alan Gerber) because getting them into the States is such a hassle. You have to request the visa way in advance or pay the extortionary $1000 fee for "expediting" the process. If I want to break into New England, I think I'll have to organize it for myself the first couple of times.

On Saturday there was a special presentation to Kate & Anna McGarrigle with special guest Emmylou Harris. Michael Jerome Browne was showcasing in the Borealis suite so I spoke to him for a few moments before he went on and gave him an advance copy of my CD (he plays on four tracks). He was heading off directly to Australia. The couple who were backing him up in the "Twin Rivers String Band" were great. They perform as a duo as well - I think they're called "Ball and Chain".

Got to see "The Bills" for the first time and they are "as advertised" - high-energy good time music. They came right out into the audience...that's what I like to see - that's what I like to do.

Mort Goss, who manages the Duhks, told me they had recorded one of my friend Allan Fraser's tunes on their new album. I brought Allan and his wife Donna over to the hotel the next day and the whole band got to meet Allan and they gave him a copy of the CD. They were thrilled to meet the composer of "Dance Hall Girls" and he got a real ego boost. Other people came up to him as well and you can bet half of the people at that gathering had a Fraser & DeBolt album in their collection.

A busy February winding yup with a fun week-end at the Folk Alliance Conference in Montreal. Day One included my showcase at the "Beaver Suite" which was pretty weird because the beaver suitre is actually two rooms, one with the performance area then a separate room where theyt had the beer and a video monitor showing what was going on on the performance side. When I started up my set there wre only four or five people in the performance room and god knows how many on the other side - all I know is they were making a racket and I asked that the door be closed. Then I made what was probably a classic carreer-suicide move and opened with my song called "One More Weasel" (talking at the back of the room) which is about a CD launch where all the music industry typed were not listening to the music but talking amongst themselves.

Anyway, I think just about everyone that took in at least part of the showcase had very nice things to say - once couple was all the way from Virginia (??) - they were called "No Evil" - must try to catch a set of theirs.

But here's where the conference is great - after the showcases were winding down, I got out my guitar and jammed with a few people in the hallway then settled in to David Jacob-Strain's room where I found myself jamming with Dan Frechette, a great multi-instrumentalist from Manitoba, Bill Bourne a music legend who I had never met or heard live before and a friend of his called Lan who was in Montreal playing with her (Juno-nominated) group, Orchid Ensemble. I was jamming with an erhu (two string chinese violin thang) and we were rockin'. That was the only expectation I had of this conference - to meet and play with some new musicians. Oh yeah, I was hoping to find some representation in New England. There's still two days left...

The rest of the month was pretty musically active and I hope it keeps up. I got a return engagement at the Shalom Village in Hamilton - but this time I didn't do "Chicken Cordon Blues" and wasn't going to play "Sta James Infirmary"...till I got a request. Played this one with Lily on piano (a very out-of-tune piano) but Lily couldn't do then next date with me a Chicago's East, so I called upon Roberta Hunt who I had only played with one timne before and she was great!

There was lots of other stuff going on this month - the JUNO announcement of nominees and I am pleased to note that five of the folks playing on my CD wre among the nominees. One of them, Harry Manx, invited me to open for him on the southern Ontario leg of of his tour. That was a blast - great, attentive audiences. Harry was playing with Southside Steve Marinner on harp and that's a great fit - though I always though Harry was a prettty fine harp player himself. Steve and I went to the local campus radio station and did a live interview and even played a couple of tunes.

Hope I can keep up the music momentum for March. I'll post more on my folk alliance adventures later - right now I have to run to a lunch get-together with an old friend.

My first post of 2005! (Actually I had a January post written up but it was still sitting in my outbox - unsent...) Best wishes to my friends and (may I call you) fans! Anybody that's made their way to this page has probably taken some interest in my musical aspirations and adventures.



If you've been following this blog for the last couple of years you've been watching me struggle to record my second album. We started recording on Dec 22, 2002 and I'm happy to report that we finished mixing on January 11, 2005. Yes, it's done! (insert applause here)



Some of the team have ceased to believe that it would ever be finished (they say I have completion anxiety).



In addition to the mixing (which we did in Montreal at Fast Forward with Rob Heaney at the helm), I played my first gig of the year in Lennoxville, Quebec, a stone's throw from my birthplace, Sherbrooke. I played the Church Street cafe to a great crowd who were most attentive and appreciative. Look at the nice message I got after the gig:



"You are something else!!!! A truly enjoyable, entertaining evening it was Friday at "The Church St. Cafe" in the Gertrude Scott Hall of the United Church in Lennoxville.... Just wanted to let you know that you gave me a few smiles and laughs which I think I needed just about then."



A new fan! Now if I can just get it together to put her email address in my database (I have been remiss, lately)



I did a showcase at the Blues Summit, a national conference for the blues music industry - or what there is of it. I was also the MC for the opening reception (Dawn Tyler Watson did a couple of tunes) and I kicked things off with my "State of the Blues" song - Blues is Hurting:



Blues is Hurting, Blues is Hurting/My favourite club is closing, CD sales are down/And to get a decent paying gig you've got to drive way out of town/Blues is Hurting, Blues is Hurting/The Blues musician's wages haven't changed in thirty years/And there's still clubs downtown expect the band to play for beers/It's enough to make a grown bluesman break down in tears/Blues is Hurting, Blues is Hurting/If you ask any kid on the street who he'd like to hear sing/They only blues singer he ever heard of is B.B. King/What about all the great bluesmen still out there doin' their thing/Blues is Hurting, Blues is Hurting/But those of us that love it we know it's here to stay/And we're not discouraged if the blues is having a bad day/Blues is Hurting.



I got a lot of great comments all week-end about that tune. I couldn't hang around for the whole party because I had taken a gig at the other end of town and had to race ovewr there. It was the "Acoustic Harvest" Concert Series and I didn't expect there would be too many people but the place was packed. It was an older crowd but they got a kick out of my tunes.



Back at the Summit next day, I took part in a panel discussion on the "digital revolution" and looked into my crystal ball - actually I had asked around and I predicted there will soon be a price war in the cost of song downloads. We'll see.



Saw some great showcases - and played a great showcase too. I felt good about it. I think it was the only showcase I attended where the house was quiet and the audience was paying close attention. I think I got the interest of a few western festivals and Bruce Iglauer himself was in attendance. Next day I saw him and he said "I liked your set...a little on the folky side for me." I'm thinking..."this is a good thing" considering I'm on my way to the Folk Alliance Conference and will be trying to make an impression on a lot of hard-core folkies.



A couple of nights ago I attended three CD launches in a row...Fathead had an early launch at the Silver Dollar and they had a good turnout but the other two were dismal. Not just Blues is Hurting! It makes me wonder if I want to do an actual CD launch party. I better start thinking about it, because this album is mixed andf soon to be mastered. And today I meet with "a man" who is considered the guru of CD design and it looks like he will be taking on my project.