Motherless Thursday

The picture above was taken in 1972 with my wonderful adopted mom, Jill Blain, who many of my early musician buddies remember well because she used to feed them and give them cigarettes. This photo shoot was part of an elaborate media blitz to promote the release of a song I wrote called "Don't Forget Your Mother". It was all a bit premature and I found myself in Andre Perry's studio recording this tune with some musical heavies before I had ever performed it in public and in fact, before I had ever done a gig as anything but a quiet sideman. The song was never released, mostly due to my intractability and embarassment about my singing, but after all these years, I'm willing to share it with you all. You can hear it at www.myspace/brianblain. I don't sound anything like that anymore.

Here's the press release, if you wanted to know more:

Harrison Kennedy joins Brian Blain for his Annual Motherless Day Blues Concert Thursday, May 18 at the Free Times Café


In 1970, Brian returned to Quebec after doing time in an Ontario ad agency. That summer I began writing songs. One of them was called “Don’t Forget Your Mother” and I would perform it as a “novelty feature” with the groups I was playing with. Montreal producer Andre Perry heard the song and signed me to his fledgling label. Perry, famous for recording John & Yoko’s “Give Peace a Chance” was not known for doing things in half measures and he brought in Los Angeles producer Frazier Mohawk and arranged to record the song with Frank Zappa’s Mothers when they came through Montreal on the “Petit Wazou” tour.

Zappa declined to participate but most of the band played including Tom “Bones” Malone, known for his later work with the Blues Brothers and The Band and drummer Jim Gordon, member of Derek and the Dominoes and co-writer (with Eric Clapton) of “Layla” (Gordon later killed his mother in a schizophrenic episode, but that’s another story). The recording was a massive undertaking with an orchestra conducted by Otto Armin, a boys choir and back-up vocals by members of the Manhattan Transfer but due to some legal entanglements and my own tendency to shoot myself in the foot, it was never released. You can hear an mp3 of “Don’t Forget Your Mother” at www.myspace.com/brianblain.

Since then, I always try to find an occasion to perform the song on or near Mothers’ Day. Last year, I christened the Thursday after Mothers' Day as Motherless Thursday, a day of remembrance for those who have lost their mother or never knew her.

This will be a great opportunity to hear the phenomenal harrison Kennedy in a small, intimate setting. Harrison, based in Hamilton, does not make a lot of appearances in Toronto, but he’s been touring heavily in Europe and making a solid reputation as a “deep blues” real-deal bluesman. I first met in an after-hours jam session at a music conference and I've been looking forward to sharing the bill with him ever since. I Hope you can come out for this one

The details:

Colorblind Blain's Motherless Day Blues Concert
With Special Guest Harrison Kennedy
Thursday, May 18 9PM
Free Times café
320 College St. Toronto

Chicago's

Had a bit of a setback this week-end. The gig I was to play next week-end at Chicago's in Oshawa has been cancelled because the owner didn't think we were enough of a dance band. I guess I'm going to have to work on getting a "club show" together where I can play for a dance crowd. It's true that the cuurent set is more for a listening crowd...but I prefer a listening crowd (or at least a listening table or two).

But that doesn't mean I'm not willing to get out the old Strat and rock 'da house! With Michelle on drums and Roberta on piano we put out quite a bit of energy, I thought - even without the Strat. But we're not your regular blues band.

I think we made a few new fans this week-end, but not very many old ones showed up. It was pretty light crowd but I can't feel too bad when I look around me at what is happeming to musicians with a far higher profile than mine. Just the day before my gig, I dropped by the Montreal Bistro to hear an impeccable performance by some of the pre-eminent players on the Canadian jazz scene, and still the attenance was pretty sparse for the last show.

Over at the Dollar the night after my gig I saw Watermelon Slim and he had a full house, but this was after some big bumpf - the front page of the Star entertainment section, I'm told. Down the road at Healey's, we heard the last hour of the Sonny Landreth show...and they were packed. But when you consider Sonny was a mainstage act at the Toronto Bluesfest, and headlines many other festivals, but in Toronto, he's playing a club. Lucky Peterson was just in town - playing the Dollar. And a few short years ago he was headlining the Downtown Jazz Festval and selling 1100 tickets.

Slim has been packing them in across the East Coast, according to Maureen Brown, who was subbing for their drummer. Mo hooked up with them at the Blues, Brews & BBQ's in Kitchener and really deliverd for the boys even though she's played with two other bands that day. Now she got the call for a tour. Slim was something to behold and I counted at least three times that he jumped off the stage to play harp in the audience but then it became a bigger and bigger struggle to do that leap back onto the stage.

Well now here he was at the Dollar, climbing on top of the speakers. At another point, he was leaning precariously over his makeshift guitar holder and it started to wobble. That guy's gonna hurt himself one of these days. But what a showman! In addition to standing on the speakers and jumping off the stage, he did a walkabout throughout the club shaking a tambourine. People love it.

Tip of the Day: Slim had noted the names of all the staff and soundman and took a moment to thank them all indiidually. (I couldn't even remember the name of the bartender at Chicago's...I called her Sarah...but that's not her name). Slim was dressed all in white, which I wouldn't try, but it's become a bit of a signature with him and that's a good thing - big dry cleaning bills, I suppose.

Sonny Landreth, meanwhile, was not into any grandstanding but played the most impeccable slide - if only we could graft his steel guitar vituopsity onto Slim's larger-than-life personna.

Record Labels have Birthdays too

Just played the CD/DVD compilation celebrating the 30 year anniversary of Edmonton-based Stony Plain Records. Got to meet Alvin, the man behind the scenes at Stony Plain. Lots of other artists and music industry types in attendance.

My own label, NorthernBlues Music, will be celebrating 5 years next month. Man did that go by fast. I was there right at the beginning, and even though my CD didn't come out till last fall, we had signed the deal in 2001. It just took me a little while - too many distractions in my life (like making a living)

Happy Birthday Holger, Happy Birthday Fred. Two great guys supporting the blues in Canada.

Day Two - Canadian Music Week

Saturday I got a late start, get into the car and one of my tunes is playing on the radio - Jazz-FM a station with a lot of listeners (as I've discovered since I've been in their rotation). Anyway, how many of those 300+ emerging artists at Canadian Music Week had the pleasure of starting their day hearing one of their tunes on the readio!. I wanted to get to CMW in time for the session where a "coach" by the name of Tom jackson would work with a band and help improve their "stagecraft". His website is www.musicsuccessonstage.com. he was good. He'd let the band play the song then he would stop them and point out what somebody was doing (or not doing) that could add energy/dynamics. For example, he had the singer hold off before jumping in to the second verse - let the band vamp a little - milk it (if you've got the audience in the palm of your hand). He had the soloist just noodling around a bit before he launched into his solo. Everything was based on making the audience feel like they're experiencing a special moment, something that will never be repeated that way again. He said people remember "moments" rather than great songs or great voices. And it is our job as performers to create those moments...I know what he's talking about - I call it "lift off". And I can remember looking around the room at the Silver Dollar and seeing everybody just grinning from ear to ear. I think the band was Little Charlie and the Nightcats.But those moments ar few and far between. Something to strive for.

That night I saw a bunch more bands, and there were some fine young singer-songwriters in the legendary Imperial Room of the Royal York Hotel. Liam Titcomb played and I told him I had a perfect song for him, but now I'm wondering if he might already be too old (or at least, too mature) to play a schoolboy. I met two "music supervisors" (for film & TV) at CMW and gave them each a CD. Now I need to follow up with an email that points out the special features of each track (apparently that increases the chance that it might be listened to).

As if I didn't hear enough music on the week-end, I went on Sunday to the "Gospel Brunch" at Hughes Room. My indispensible listings co-ordinator had not benefited from any of the Music Week perks, so I said we'd go see The Campbell Brothers and what an uplifting afternoon. Two Downtown Jazz concerts this week: On Monday it was Cubanisimo at the Opera House - not what I expected but inspiring to watch. There were 4 male singers up front. Amazing horn section and not a chart or music stand in sight. Tuesday, I stayed home and tried to get out some packages to agents in Quebec, maritimes and New England. Also had a nice connection with someone from St. Johns, newfoundland - boy would I love to go there again. I totally forgot that there was a special media event for the launch of Ndidi Onukwulu's CD, but I decided I'd better make her Thursday show for the public at Hugh's Room. That same night, there were two other CD Launches for very strong local artists, Treasa Levasseur and Roxanne Potvin. I got to see all 3 women in full flight and I was very encouraged for the future of Canadain blues.

On Wednesday, I went to Hugh's to hear Del Ray and I was not disappointed, I saw somew emails that were calling this the show of the year but I would not go that far. She was playing with another virtuoso, Steve James. They were using that "single Mic Technique" preferred by some of our old-timey players, but in this case, close micing would have made for more intelligibility.

Where was I - Friday night...Another Downtown Jazz show - Randy Weston at the Glenn Gould. Man did that piano sound good. No mikes or sound re-inforcement. Just a great piano, a great player a quiet audience and a great sounding room. Hurray! From there, we pop up to the Silver Dollar where the Weber Brothers are playing, These siblings made their way to Ontario 10 or so years ago but still haven't found the acclaim they deserve.

On Saturday, I wanted to hear Lori Cullen at Hugh's Room but got thre justr as the audience was piling out (a little past 10:30) Well, if that's what the public wants, that's what they can have. I headed stright to the Dollar where Anthony Gomes was playing. He's lost the lamé suit, but he sure can get some great guitar sounds. I'd say more about Anthony but I'm nodding out. That's it, goodnight. B

Canadian Music Week

Tonight I came home early from my CMW cruising (1:30) so that I could post a blog - there's been so much happening. Anyway, when I checked my email there were 170 messages (I hadn't checked all day). And now I just remembered to call my boy and make sure he doesn't bring home a trumpet player to do overdubs at 4am like he did last night.

I had skipped the music conferences last year - maybe the last couple of years (it is so different from the roots music scene and jusrt served as a reminder of how insignificant blues, folk and even jazz are in the big picture of commercial music). This year, I got a media passes for me & Joel and we've both been taking in a lot of music for the last couple of days. Unfortunately my media cred ladder does not go as high as the revered Massey Hall. I had requested a media ticket for the Blind Boys show tonite and got a big "sorry". Then Jesse, the programming guy suggested he would keep me in mind but I guess I would have had to keep bugging him and I would have hoped one bug in his ear would be enough... Then I get a message this afternoon from someone who is better at getting Massey hall tix than me saying he though he could fix me up. As I headed out of the conference, I went by MH and asked if there was a ticket for me at the Box Office but alas no tikie. I poked in at the stage door thinking i might see a friendly face but all that confronted me was the ornery IATSE gatekeeper. Then I'm walking back to my car and run into Danny Marks who tells me he's MCing and invites me along but at that point I was worried about gettin g a ticket so I passed on the whole idea - and sure enough, I reached the Buick when the ticket guy was only a couple of car-lengths away from a $30. ticket.

So I didn't get to see the Blind Boys or Susan Tedeschi (I hope she played some guitar...she only sings on the new CD). There was so much music to see, though. On Thursfday I heard a few bands but they all kind of blended together. Tonight at the Silver Dollar I saw some bands that had a real character of their own, but my "discovery" of the week-end is a band that was playing downstairs at the Comfort Zone and they are not even listed as a Music Week venue. This band had great energy and I asked what they're name was and I think it's "Sweet" something...Before that, I swung by the Phoenix and the place was packed like sardines. Couldn't figure it out - 3 bands, none of whom I've heard of. They were very professional and "ready for prime time" and harkened the motivation talk I attended earler in the day.

The speaker was Tom Jackson (no, not the Canadian actor/musician) and his message was simple: all roads lead to the stage. That is where you will be making the bulk of your income and in fact that is where you will make or break the whole thang. It is that direct connection with the audience that Tom called "moments". The audience doesn't remember songs or what you were wearing. They remember how you made them feel for a brief moment in time. He talked about the importance of the stage show and was incredulous that a band would spend 6 months writing the songs, 6 months preparing to record and then 3 days rehearsing for the tour. What's wrong with this picture? He talked about your visual appearance on stage - you don't want every song to sound the same...why would you let them all "look" the same???

Anyway, that whole "moments" thing struck a chord with me. I think I instinctively knew that and was still flush from having had many wonderful musical "moments" at a couple of gigs lst week. One at a performance at the Shalom Village, a seniors residence (3rd time back there - I love it...and so do they) and then as a special guest at Rita's Parlour, a house gig hosted by Rita di Ghent. She played some piano with me and I backed up some of her tunes on the guitar. It was a magical evening, anyone who was there would surely agree.

I dropped by the office (which is right by the Phoenix),I flipped on the TV and there was Paul McCartney discussing the "slaughter" of seals with the premier of Newfoudland on Larry King Live. Danny the premier stood his ground but McCartney's argument was quite persuasive. He said the European boycott of lobster and other seafood from Canada would immediately be lifted and hundreds of millions of dollars would start flowing again. I thought he might just take out his checkbook and offer to pay the difference to all the fishermen who would be financially hurt if they made sealing illegal.

In the afternoon, I attended a FACTOR information session and asked about the final payment I just received from them - they deducted the ammount of my donated services because I didn't include a receipt to me from me. Thet assured me it could all be adjusted. I just hope I haven't lost her card - I've got to call that girl on Monday.

There was a "celebrity interview" with Allan Parsons - legendary engineer on the beatles' Abbey Road album. He talked about how the synced up the 4-tracks and how after the rhythm tracks were recorded, John Paul and George would come in separately to work on their songs. And Ringo would poke in every day and ask "Does anybody need me today?" then leave...

There was another celebrity interview that I missed and I think it was Bob Lesfetz who did the interview. I've been regaled by his Lefsetzletter for the last month or so - this guy has a lot to say about the music industry and he doesn't pull his punches. When I asked the publicist if he was still in Toronto, she offered to set up an interview and maybe I'll get to talk to him tomorrow. If you want to subscribe, go to his website lefsetz.com. Here's a sample of one of his recent tirades:

"If you're harvesting e-mail addresses to blast hype of your bullshit production around the world boy are YOU delusional. To quote Seth Godin, we now live in an era of PERMISSION MARKETING! Or, in the vernacular of the Web, PULL not PUSH!



Be nice to me. Say why I should be interested. Ask permission. And then I'll probably treat you with respect. But when you bombard me in your scattershot manner, me being roped into a group with zillions of other faceless people, I get PISSED OFF! At YOU and EVERYTHING YOU'RE SELLING!

Make no mistake. This isn't just about me. It's about EVERYBODY! STOP FORCING YOURSELF ON PEOPLE! IT JUST DOESN'T WORK! Put up a quality site. Put up GREAT music. ASK your friends what they think. If they LIKE IT, they'll spread the word without you even asking." (end of Bob Lesfetz tirade)

Two other observations from my evening out: They should make those laniards for the passes a dark colour because white like they are they glow like crazy in the clubs where there's black light. As if the badges were not flashy enough! And did you know when you buy a Whopper meal at Burger King, it comes to $6.66. I propose they reduce the price by one penny to $6.65...

Welcome to Toronto

(wipe that smile off your face)....that's the way it was put to me by Butch Coulter when I had just arrived. Butch is a great harp player who's been living in Europe for the last ten years or so but he did have a spell in Toronto and I don't think he found it to be a very welcoming musical scene. News flash! You have only to read my early blogs to see what I went through when I first came out to the blues jams. I remember seeing some great bands like Nigel Mack from the west, Glamour Puss from the East, Stephen Barry from Montreal - top-notch, award-winning bands, and yet no audience. Wecome to Toronto...where (if I may quote myself), "The Blues Is Hurting"

So in the last couple of days I've gone to three shows that just did not get the people out. There was The Mike Goudreau Band from Quebec - they played great and are quite popular down there but had virtually no profile here (the fact that they had just changed the band name didn't help, I'm sure). Then tonight from the west coast my label mates Doug Cox and Sam Hurrie at Hugh's Room and not a lot of folks out for that either. Doug also produces a festival out west so must get hit up continuously by artists who want to play his festival. The washroom at Hugh's Room was probaly not the place to be grovelling for a gig but I did ask if they were still accepting artist submissions - he said "next year". Oh well. This reminds me, there's a festival here in Ontario that invited me last year and I had to decline because I was touring in Quebec. I hope I've got a rain cheque on that one.

After Hugh's, I swung by the show Downtown Jazz was producing - Charlie Hunter playing some phenomenal grooves with a decent crowd (but probably not a profit-making one). Charlie's got something special and he obviously had a fan base. I think if you asked how many people in that audience had Charlie Hunter records, it would probably be all of them. That was at the legendary El Mocambo. I loked the feel of the room.

At Charlie Hunter I ran into a journalist friend who had just come from a CD launch at the Lula Lounge and that's when I remembered I had been invited. I even printed out the invitation, but it was not to be. Too bad, he said the food was great (I used to rate the CD launcehes...A two-shrimp launch, a four-shrimp launch, etc.)

Before heading home, I dropped off the last of some jazz newsletters at the Montreal Bistro and there sitting at the bar was Canadian Jazz Legend Don Thompson. He was playing with Joanne Brackeen and Terry Clark...jazz royalty! And you know what? I didn't look like such a great house for them either...though it was probably fine earlier in the evening.

At Hugh's I was sitting at a table with two busy promoters and was the one to bring it to their attention that they both have CD launches on the same night - both blues ingenues, too and believe it or not, a third young, female blues-based artists is releasing her CD on the same night at the Lula. Talk about fragmenting an already small market. It's a good thing these young gals have some appeal beyond the typical blues fan. Well, let's hope they've each got some devoted fans because you wouldn't want to leave it to the vagaries of the general public.

Makes me realize I better start nurturing my fans...I realize that I've got a lot of names an emails that I haven't yet entered in my database. No excuse for that. Note to self - update fan list and send them the Blainletter (the very first Blainletter). I sent out a blast last week and have received many positive comments, though no-one responded to my appeal to find me some festival gigs. Here's the Blainletter, in case you didn't get one:


(but first, a review just in today:

Cadence
February 2006

“Brian Blain is a fine songwriter who writes lyrics about everyday life, and singer who has a friendly conversational delivery. On “Overqualified for the Blues”, he performs music that includes some Blues, Swing-based Jazz, Western Swing/Bluegrass and folk music. Highlights include “Blues is Hurting,” an effective plea for listeners to discover the great Blues performers and “Hi-Tech Blues” which deals with computer problems. Although the backup musicians are excellent, the spotlight is primarily on Brian Blain’s singing and fortunately his lyrics are insightful and upbeat." Scott Yanow



Welcome to the first Blainletter. These will be published very sporadically so don’t worry about getting spammed to death. If you'd like to know more about what's happening with Brian Blain, visit my blog, my EPK, MySpace or my official webpage at www.northernblues.com (see below)

To begin with, congratulations are in order for the JUNO nominations just announced last night. The Blues category nominees are Julian Fauth, Kenny “Blues Boss” Wayne, The Perpetrators, Paul Reddick and Harrison Kennedy. Paul and Harrison were on hand for the announcements (Julian wasn’t there – he probably had a gig). Harry Manx got a nomination in Roots & Traditional…allright Harry!

(this is the paragraph where I might be tempted to whine about the fact that my CD wasn’t nominated even though I’m in rotation on JAZZ-FM, getting spins on CBC Radio and Galaxie, chosen as one of the best releases of 2005 by “Sunday Night Soul” AM1430 CHKT, Toronto (Johnny Max); “Rue D’Auteuil” CKRL-fm 89.1, Québec (Michel Dubois), Tim Holek‘s “Blues Bytes” and recommended listening by the Globe & Mail’s Brad Wheeler and Scott Yanow of allmusic.com…but I’m over that).

A big thank-you to to all those folks for their support as well as Steve Fruitman, Ian Angus and Heather Fielding at CIUT-FM (3 months on the charts “Let The Good Times Roll”, 4 live appearances on “Acoustic Workshop” and "Back to the Sugar Camp") and David Barnard, Julie Hill and Steve Balla at CKLN-FM for many spins and on-air appearances.

A special thanks to Steve for awarding me the 2005 "Golden Quill" Porcupine Award (the first time I ever won an award that wasn't for photography or copywriting). The citation reads: "Brian has the ability to utilize a musical genre but not be limited by it when he composes his precious songs. He uses the blues and yet his songs weave in and out of them. Incorporating modern day life that fits in perfectly with this over-used musical style, he brings going to meetings, dating a girl with a Saab, or being a high tech guru with a slightly humorous detachment. He is the Buddha of the Blues." (well, that’s something to live up to – B.)

OK, enough bumpf, I’m playing in town…

***GIG TONIGHT (THURSDAY)***

YouthLink Benefit Concert
The Silver Dollar Room, 486 Spadina Ave.

It starts at 8:00 and the running order is:
Mr. Rick and The Biscuits
The Gary Kendall band
Fathead
Brian Blain
The Jukes

and TUESDAY FEB 28 (6-9PM)
I will be the special guest of the lovely Rita di Ghent
At Rita’s Parlour, at the Underdown 263 Gerrard St E. (at Parliament)

This week is my window of opportunity to get some festival bookings so I’m appealing to my friends and fans and especially anyone who might be in a position to help me get one of those few remaining slots on a festival stage this summer. Please pass along any leads or direct interested parties to my EPK to hear 3 tracks from “Overqualified For The Blues” www.brianblain.ca

And even if you don't know any festival producers, there's another way you could help: Last week as I was delivering newsletters, I decided to check if “Overqualified” had a “spot” at the HMV store on Yonge St. (I know I’m displayed at Sam’s – I’ve got friends and family working there!). And sure enough, at HMV there was a plastic divider with my name on it in the blues section. The bad news was that there was no CD (maybe that’s good news…). I immediately saw that someone had misfiled my CD under “Bland" (Bobby Blue, that is) so I corrected that situation but what I’m getting at is that even though it may cost a little more than buying it online or from me at a gig, purchasing “Overqualified For The Blues” at Sam’s or HMV will ensure that there will always be a little plastic divider with my name on it. A bit of immortality, eh?

But we are not immortal, and I was reminded of that when I heard yesterday of the passing of someone whose name you probably never heard. I end this Blainletter with a nod to the lady who practically single-handedly got TD Bank as the title sponsor of jazz festivals across Canada (after du Maurier went away). Her name was Marilyn Mitchener, lest she be forgot. A lot of great music got played and heard thanks to her.

Bye from Blainville (where is that John Lee Hooker quote, oh yeah, here it is… )

“Let that boy boogie. It’s in him and it’s got to get out.”
- John Lee Hooker


My SonicBids EPK is at www.brianblain.ca

I have a blog at www.brian.blain.com : “Colorblind Blain’s Toronto Blues Diary” where I’ve been chronicling my slow (but steady) rise to stardom

www.myspace.com/brianblain is a new endeavour where I have loaded up some tunes I’m pitching to other artists or stuff my friends might get a kick out of hearing. Right now, I’ve loaded up “Alice” a tune I wrote about Alice Brock – “…where is she now, 40 years after Alice’s Restaurant”

www.northernblues.com/bio_blain.html is where you can find a lengthy bio and lots of reviews.

Maple Blues Awards

Well, this is a new experience. I'm in that classic "waiting by the phone" mode that actors experience all the time, I guess. Yesterday I did the first audition of my life. It was for a TV commercial that required an old bluesman sitting on a porch. I had to make up a little blues tune about how happy I was now that I had this delicious...maybe I'm not supposed to say the product (there were lots of notices of confidentiallity on the paperwork). Anyway, I thought I did OK but, as they say, "One never know, do one"

The Maple Blues Awards soiree was a great evening, as always. I was not on a mission to schmooze this year, and I didn't even make it to the afternoon "Meet & Greet," I know, I've got a new CD and all, but fuck it, I just don't have it in me to go harassing people to give me a gig. As it turns out, I did get some encouraging words to "go west, young man" so maybe I will pursue some opportunities in the far west...I've never been west of Medecine Hat, I'm sure there's lots to see.

As usual, there's been lots of post-mortem discussion about what we could do better next time and of course lots of whining about deserving artists who did not receive a nomination (I guess I would count myself in that group with a new release that's getting lots of airplay and sits on at least a couple of "Best of 2005" lists). Since I know most of the people on the nominating committee, I guess this disproves that old saying that it's "who you know". In reality, it's "who likes your music" - as it should be. I've been judge, jury or committee chair enough times to know that!

The day before the Awards, I played a showcase set at Chicago's (haven't played there in years). Rather than bring in a couple of brilliant soloists to play with, I hired a (brilliant) rhythm section (Michelle Josef and Henry Heilig) and played all the (brilliant) solos myself. I don't think there were too many "talent buyers" in the house but we did sell a few CD's and make some new fans, in particular a couple that just moved here from Vancouver and felt like they had landed in "blues heaven" when I told them all the stuff that's going on in TO.

The day after the awards I headed out in nasty weather to Steve Payne's set at Hugh's Room and glad I did. Steve played great with Paul Reddick sitting in and I ran into a few people I needed to talk to - lined up a newsletter story and a gig and actually got the wheels in motion for a UK tour. Memo to self: "Even if the weather's lousy and you don't feel like going anywhere, probably a lot of other people feel the same way - so go anyway and you'll have the field to yourself."

Happy New Year

Looking Back: A good day is one when you hear your song on the radio. It's interesting especially when you know you're going to get a spin but you don't know what track. Tonight I'm listening to the "Blues Doctor" Julie Hill and she was playing tracks from all the showcasing artists at the Maple Blues Awards, of which I am one.

Alas, I didn't get a nomination from the Maple Blues Awards (setting to rest the theory that it's "who you know") but I'm delighted to announce the first award I've won that wasn't for photography or copywriting, the "Golden Quill" Award for 2005, part of CIUT's Porcupine Awards. The citation reads:

"Brian has the ability to utilize a musical genre but not be limited by it when he composes his precious songs. He uses the blues and yet his songs weave in and out of them. Incorporating modern day life that fits in perfectly with this over-used musical style, he brings going to meetings, dating a girl with a Saab, or being a high tech guru with a slightly humorous detachment. He is the Buddha of the Blues."

I did many live radio interviews. played a few tunes sometimes. Steve Fruitman's Back to the Sugar Camp, I've played live on three different shows and had lots of spins (CKLN Top 25, Oct & Nov; CIUT Top 20 Nov) and Overqualified For The Blues received the most spins in September according to Canadian Folk playlists (14 stations) posted to folkdj-l. We've received as much support from the folk shows as the blues and one of my tunes, "Saab Story," is currently in rotation on JAZZ-FM, unusual for a blues/roots recording. At Jazz-FM the other day, I had the pleasure of meeting a radio pioneer, Reiner Schwarz. I was listening to him in the early days of CHUM-FM, and if you tune in his overnight show (Fridays) on Jazz-FM, you will be transported back to those days.




Overqualified for the Blues is now available at iTunes, Amazon,com and the All Music Guide (allmusic.com reviewer Scott Yanow gave it 4 1/2 stars "...particularly recommended to fans of upbeat folk music.") Here's some more short takes (full length reviews ad nauseam at http://www.northernblues.com/review_blain.html)

"one of the wittiest songwriting pens on the Canadian blues scene" ***1/2
- Mike Regenstreif, Montreal Gazzette Dec 8/05


"Now here’s something you don’t hear every day: a bluesman singin’ the blues about how lousy the blues singin’ business is these days."
- Jeffrey Morgan, Detroit Metro Times Dec 7/05


"for mature, relaxed-fit acoustic blues, Blain's the man for the job."
- Brad Wheeler, Globe and Sept 30/05


"Brian Blain is one of the most important and popular figures on the local blues scene."
- Kerry Doole, TANDEM Oct 2-9/05

I have lots to be grateful for as we enter 06, even though my car's broke down and I've got no gigs (I guess it's convenient that it's happening at the same time). The CD's been out almost three months, and the reviews have been very encouraging. Click here to read some of the latest reviews. I wrote a song for Alice Brock on the 40th Anniversary of "Alice's Restaurant." I did a little house concert at Alice's Studio in Provincetown. They celebrated the occasion with a special boradcast from WOMR, the local radio station, and the station manager just sent me a note saying they loved the song so maybe they played it.



I've said it before on this blog and elsewhere, but I can no longer just sit around waiting to be invited to play. I'm getting pro-active. I'm going to be 60 this year, so no one is going to be looking at a 10-year plan to get me to the big time because I might not be around for the pay-off. I don't think I'm going to be the "buzz act" of this or any other year. But I'm reassured that I have an audience out there and if you're reading this I count you among that discriminating group. You know they give career development workshops for artists that help you realize that the audience is the "star." Thank you for being one of the stars in my skyscape and I will be out there playing for you one of these days.

"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)