When's that guy gonna make another record?

I get asked that once in a while - less often than "we still play your album" (or some variation thereof) but it's going to be 5 years and I've been feeling the pressure. A recording fund is in place, thanks to a couple of generous benefactors, and I've downloaded some grant applications...we'll see what happens with that! I've got a new batch of songs - well not that new anymore - and the good news is that I've been out there playing them for different audiences and with different accompaniment. I had pretty well decided to make an acoustic album and I had talked about it with some of the top bluegrass players in town, but then I did an abrupt turn and decided to make it a band album with Michelle on drums and feature the wonderful horn players Carrie Chesnutt and Colleen Allen. I had a vision of going in and recording live with the horns but then there were a lot of practical considerations, mostly that we haven't been practicing the songs with horns, there's no arrangements or charts. So then we were going to overdub the horns, and then we even talked about doing the bass after and that's when I realized that this is no way to make a blues record so I pulled the plug (at some great inconvenience to myself and others). So now I'm right back where I started, except in the process I've come out with new (bluesy) arrangements for some of the more folky tunes. I'm now back to recording alone at home and fine-tuning some of those songs. I guess it can't hurt. Stay tuned.

Brian Blain Missing

Everytime I walk into the Silver Dollar Room, the first thing I see is this picture of myself hanging in its long-standing place of honour at the end of the bar. Until last night, that is. I dropped by the Silver Dollar to hear the bluegrass guys and noticed that my portrait was missing from its spot. It wasn't replaced with anything else - there's just a big blank space where it used to be...Wot happened? They're looking into it at the Silver Dollar. Gary Kendall thinks it might have been stolen right off the wall, as were portraits of him and Donnie Walsh a while back. This feels a bit like the time I discovered a web site that was "sharing" my music for free. Part of me was kinda happy that someone out there thought it was worth stealing. Nowadays there's a lot of music you can't GIVE away...

Blainletter #28 May 10, 2010

Tomorrow’s Campfire at Highway 61 (maybe today’s by the time you read this) is my “Motherless Day” Special with the inimitable Carrie Chesnut as special guest and who knows who else will show up.  That 7-10 pm at 1620 Bayview. Every year on Mother’s Day week-end, or close to it, I like to have a special show for folks who no longer have their mother, like myself or orphans who never knew their biological mother (also like myself). Some of you may be acquainted with my tune “Enfant Choisi” which is about my adoption by the dear lady you see pictured with me in a 70s promo shot.



It’s also the only show of the year where you’ll hear me sing my “cult classic,” “Don’t Forget Your Mother”. You can hear it here: mother.mp3. We recorded three sides at those sessions in 1973 and the two othere were released on Good Noise Records, but “Don’t Forget Your Mother” was never released (for a variety of reasons).  But it was a bit of an underground favourite in Montreal in the early 70s. Everybody remembered that tune and just a few years back I ran into one of the guys who played on the session, Tom “Bones” Malone, who was in Toronto filming a Blues Brothers. I was just starting to ask him if he remembered that session and he began singing the chorus. Wow! After all those years. The drummer for the session was Jim Gordon, a first-call studio drummer in Los Angeles who had just finished touring and recording with Derek and The Dominoes. He wrote (and played) the piano part in “Layla”. He was later institutionalized for killing his mother in a schitzophrenic episode  but that’s another (hopefully unrelated) story.


The Campfire was amazing last week.  I love it when I get people to perform who have hardly ever (or never) done it. I remember when Tony Burns got up and did a couple of Delta Blues and when I commented later that I bet he didn’t do that too often he said he’s never done it (and probably never would again,  but we’re working on that). This night, Willy “A”, long standing Blues radio host on CKWR in Kitchener was in the house and when I asked innocently if he or his buddy played they had a good laugh but after the night was underway Willy said maybe he would get up and sing “Stormy Monday”. Well he nailed it, putting on a real show for the folks – at one point he was even down on one knee – and later when he was leaving the club one rowdy table would not let him leave until he performed another tune – which he did!

There will also be a special Campfire at the Toronto Blues Society’s 25th Anniversary bash at the Gladstone Hotel on Friday, May 28. I’ll be lighting up the campfire in the Art Bar starting around 7pm. Harrison Kennedy is performing in the front Room and Shakura S’Aida and Fathead are featured in the Ballroom. It will be a grand celebration. There’s also an art display, blues poetry and blues Karaoke – I’m anxious to see that! Look out if Willy “A” is in the house.


For the benefit of some folks who may not have made it out to Highway 61, I put together a few guidelines…Colorblind Blain's Campfire Credo

- Welcome to the Blues Campfire where long, self-indulgent solos are not only tolerated but welcome.

- We stick to straightforward blues so everybody can play along (unless told otherwise).

- We're not big on introductions, just pull up a chair and plug in.

- We go round-robin, taking turns playing a song or two.

- If you're playing the house guitar, please wash the BBQ sauce off your fingers first.

- Please leave us your email/website and have a drink on the house.

- We’re a very generous and accepting group, but if you play slide you better be good!

 
don't forget...

EVERY TUESDAY

Colorblind Brian's Blues Campfire

7-10 PM

Highway 61 Southern BBQ

1620 Bayview

416-489-7427

(all musicians welcome)

 

MORE UPCOMING SHOWS

As part of the Orangeville Blues and Jazz Festival I will be performing at the Grace Tipling Hall,  203 Main St. E. Shelburne  on Sunday June 6th at 2:00 PM I will be sharing the afternoon with another Townshipper, nternationally renowned mystery writer Louise Penny who will be reading from her latest best-seller, The Brutal Telling, and I will be playing some of my Townships blues (in both official languages) Call 519-925-2600 for reservations

 

OUT AND ABOUT

Had a great time playing with Jerome Godboo and Burke Carroll at the Kentucky Derby. Naaaa, we weren't in Louisville - we were playing at the Woodbine Racetrack out by Toronto airport. They take their Kentucky Derby quite seriously at Woodbine, even though people have to watch it on the big screen, but they can place their bet and feel like they're at "the track." I got a nice lapel pin with "136th Kentucky Derby." I placed my first bet ever, even though I've played numerous times at racetracks. Anyway, Linda, there was no horse with a flower in his name so I bet on the horse that had "music" in his name and he came fourth - even though he was a real long shot. We started at 11am (even though the actual Kentucky Derby main race was much later) and this was the first of 3 gigs for Burke on that day – he raced off to play at the Cameron House (this may have been some kind of "farewell concert" for the Cameron House. And later that night he had a show for Riverdale Share, a community event in my community. I played it once - I hope I get another chance! What a treat playing again with Jerome! He is an amazing harp player and a very respect-worthy person. He is also a new daddy! The next day I was playing a gig in at the  “Old Home Show” in Oakville with Larry Kurtz and boy, Larry was wailing! He can hold his own with any of them.

After the gig in Oakville, I tried to drop by the Sky Lounge to give Jerome back his tuner and thought I was taking the back way but I couldn't find it and even when I tried to backtrack to the route I used to take, I still couldn't find the damn place. And the whole time I was talking to my self and planning what to say to that club owner, who OWES ME A GIG! He was kind enough to call me personally to apologize for a double booking and that George Oliver would be doing the date...but I was supposed to get another date. Note to self: get that gig.

After resting up from the “Kentucky Derby gig”  I dropped in to the Silver Dollar for Raoul Bhaneja’s Tribute to Little Walter. I was kinda late but I liked what I heard and what a crowd they got out for that. The front and back rooms were packed. Apparently, if you didn’t have a reservation you had to sit in the back room – that’s a first! When I mentioned to one of the participants that it was a big crowd his response was that everyone had really worked this show, ie, called all their friends.  That’s the secret to filling a blues club, I guess. Have five special guests and get them all to bring their crowd. I hope it works for the Sockman on May 31 – he’s got all of Downchild (except for Donnie Walsh), David Rotundo and two very sexy, talented singers, Cheryl Lescom and his new protégée, Viviana, and oh yes, yours truly has been invited to do a number with the band. That’s at the Dollar.

At one point in the evening I heard a crash behind me and turned around to see that someone had passed out. A minute later he was back on his feet and saying he was OK and just as he was saying that, he went down again, this time knocking his head on the giant fan they have at the back of the room. Everybody, including me, was telling the staff to call 911 (even though most everybody had a cel phone in their pocket). Curious. But Canadianblues.ca’s Andie Maranda did not hesitate a moment and sprung to his aid like a trained EMS person and watched over him for the next little while. Now I know the Canadian blues scene will survive with a formidable woman like that looking out for us.

 

THE EVER-ELUSIVE NEXT CD

Yesterday we had the first meeting of the Colorblind Blain Support Committee and we are looking at the song selection for the new CD. I have arranged a studio and engaged some of my favourite musicians so we’re committed and not looking back. I remember 5 years ago when a similar group gathered in my kitchen and as I recall were not exactly blown away with the material but it’s reassuring to see a song like “Saab Story” achieve a lot airplay and comments when it got nothing but quizzical looks as a brand new tune.  And speaking of “Saab Story,” I’m still miffed at myself for cutting out a verse because some producer thought it was too long – I always sing all the verses and if I could I would re-record it. Note to self: follow your heart.

I mentioned last time that we had a  “recording fund” , and I’ll mention it again because some of you didn’t get the last Blainletter - you can deposit directly into account 00646842698006400101 at Alterna Savings and Credit Union, Danforth Avenue. (or talk to me). And thank you for your support, even if it’s only reading these ramblings of mine.

 

FRASER & DEBOLT CBC DOCUMENTARY

The much anticipated Fraser and DeBolt radio documentary has a broadcast It's going to be on the program Inside The Music on CBC Radio 2 at 3 pm on Sunday May 23rd (and I think it airs again that night on Radio One at 9 pm.) Some information about the episode should appear on their blog at http://www.cbc.ca/radio2/programs/insidethemusic/ at some point earlier that week. And episodes of the show are posted online at http://www.cbc.ca/radio2/programs/insidethemusic/audio.html once they've aired, so people will be able to hear it even if they miss the radio broadcast. I had a rather lengthy interview with the young lady who undertook this and I’ll be anxious to see how much she used. Not too much, I hope. Hopefully this will help bring some attention to a 60s folk music phenomenon that was born in Canada – and partially took shape in my living room in Hamilton -  and, after 40 years, still has fans searching for replacement albums for their worn-out vinyl (none of it was ever reissued on CD). If Fraser & DeBolt had been as popular in Canada as they were in the states, they would be regarded as Canadian folk pioneers. Instead, they are mostly ignored or forgotten in Canada, even though I remember well that they fought tough and nail to stay on their farm in the Eastern Townships when their US manager and record label were pressuring them to move to a little town none of us had ever heard of…called Woodstock.  

MOATM (Music on at the Moment): Allison Krauss and Robert Plant.  When I made the last album, I asked everyone to listen to the John Hammond album “Wicked Grin” and this time I’ll be asking them to listen to “Raising Sand.” Now last time, the only person who listened to Wicked Grin was drummer Michelle Josef, and that was probably enough to capture a bit of the vibe I was looking for. 

What are the odds?

I used to alternate years that I would apply to play the summer festivals and it seemed like even when I did a big blitz of submissions I would get a handful of gigs and then when I did absolutely nothing I would still get a handful of gigs. I think somewhere along the line I just gave up entirely (well, at least until I have a new CD to flog) but wouldn’t you know that I get two offers a day apart and they are for the same date – June 26th. Oh well...maybe that will save me having to decide between Herbie Hancock and Robben Ford, both playing the jazzfest that night. Oh yeah, the downtown core will be locked up tight as a drum for Obama and the other G-20 Leaders.

Quote of the Day

"Kindness in words creates confidence. Kindness in thinking creates profoundness. Kindness in giving creates love."
(Lao Tzu)

Upcoming Gigs

The Mighty Duck Blues Band w/Brian Blain
Saturday Mar 27 2:30 PM
The Duck (Golden Pheasant) 244 Ontario St.
St. Catharines 905-687-9505
For all my fans and Blainletter subscribers in the St. Catharines area (you know who you are)

Mose Scarlett & Brian Blain
Saturday, April 24 8PM
Glass Onion House Concerts
Wallaceburg, ON
After getting musically re-acquainted at Winterfolk, I get to play again with the inimitable Mose Scarlett in an intimate house concert setting (call John Gardiner at 519-627-5978 if you're in that area and would like some details)

Brian Blain and the Bluesgrass Boys
Saturday May 1 11AM-2PM
Woodbine Racetrack
celebrating the 136th running of the Kentucky Derby

and don't forget...

EVERY TUESDAY
Colorblind Brian's Blues Campfire
7-10 PM
Highway 61 Southern BBQ
1620 Bayview
416-489-7427
(all musicians welcome)

The campfire is in the shop. Hopefully just a power-cord issue. Our regular Tuesdays at Highway 61 BBQ have been great – full of surprises. Last Tuesday it was the “two Charlies” (pictured). Nova Scotia Music’s Entertainer of the Year Charlie A’Court and an 11-year old wunderkind whose blues moniker is "Sir Charles". The kid sat in on a couple of blues tunes then asked if he and his teacher Ted could do something by themselves and he proceeded to rip it up on Eric Clapton’s “Layla”. Andy Frank of Roots Music Canada came by with his camera on the Anniversary week-end and you can see his reportage at http://www.rootsmusic.ca. You’ll get the skinny on Highway 61 BBQ (but not the recipe to their secret sauce).

Out and about: Thursday was a big night out. First I checked in to the elegant Old Mill where Karrin Allyson was performing the first of a new jazz series produced by Downtown Jazz. Then off to find Charlie A’Court’s gig in Cabbagetown but I didn’t have the address or my cel phone and after driving up and down Parliament street I just gave up and headed over to the Caddillac Lounge where the Toronto Blues Society was having a showcase of up-and-comers. Missed Jesse Whiteley, who did a solo piano set and I would have loved to hear it because everytime I hear him play (with JW Jones or otherwise) I like what I hear. Proud dad Chris Whiteley was in the house along with his fiancee, Diana Braithwaite and we had a chance to catch up. Then a new band called Chloe Watkinson and the Crossroads, young but a bit of an old (r ‘n b) soul, and the glitzy Ginger St. James. Ginger had a way of singing behind the groove, but nowhere near as much as Karrin, who made you wonder sometimes how she was going to recover the phrase. I guess Karrin is quite the singer’s singer because the room was peppered with local jazz vocalists who all seemed to be in awe. I’m in awe of Sheila Jordan but it’s about more than just the way she phrases, but I didn’t get that connection from Karrin though she’s obviously an impeccable vocalist and a damn fine piano player. I cut out after a couple of Ginger tunes to hear Paul Reddick and his new band (?) in a new venue at 777 Queen St. Flohil told me about the gig and it was organized by his former assistant, Samantha, who I reminded was the entire audience for most of my showcase in the Sweet Beaver Suite at the Folk Alliance a few years back. Actually a couple of other people drifted in, including Donna Wilson who is married to Rounder founder Ken Irwin and whom any other folkie would have died for except Donna’s heard me play many times and has been a great supporter seeing as I was a bit of a matchmaker in her romance with Ken. Anyway, the venue is apparently a Persian restaurant but tonight it was a rockin’ blues bar with Paul. Teddy Leonard, John Dymond and Gary Craig. Not the same Gary Craig I met in an elevator at Canadian Music Week who told me he had been Long John Baldry’s manager back in Vancouver. Well, I couldn’t resist looking him up in the Baldry biography that Inever quite finished and sure enough there he is...probably not as flattering as he would have liked. I told him about touring Baldry’s circuit in Germany with Kathi MacDonald and when I told him we were doing some gigs without a rhythm section his comment was “you must be good!” All right, that’s enough patting myself on the back till I put my shoulder out of joint

Blues in Montreal

Wish I had been there for a gig, but it was for a funeral, regrettably. The night before I headed back to T.O. I decided to drop in to Bourbon Street, one of the clubs that presents blues on a regular basis thanks to promoter Brian Slack and the Montreal Blues Society. I was finding it hard to gather the energy, but when I saw legendary Quebec guitarist Jimmy James on the bill I decided if I want to hear JJ, I had better seize the moment because he rarely plays in Toronto. Arriving at the club I encounter the Montreal Blues Society table with a couple a familiar faces from the MBS “hospitality suite” at the Blues Summit a couple of years back. It turns out that Brian S. had to spin a little magic when the bass player was in a car accident and he had to rustle up a rhythm section – apparently the new bass player arrived halfway through the first set. The front man was a barrelhouse boogie piano player. The cynical Toronto blues person would say we’ve got a hundred guys in our town who can do that...but then, can you really have too many barrelhouse boogie piano players??

While we’re talking about Quebec, I got a news flash that there was a feature film being shot on the life of Gerry Boulet, lead singer of Offenbach. How often does a Canadian blues guy get immortalized in a feature film? I actually sent a “tweet” on that (you can follow me on Twitter by going to www.BrianBlain.ca. The one story I remember about Offenbach will not be unfamiliar to a lot of blues bands around the world. Offenbach was seconded to back up Chuck Berry at the Montreal Forum. Chuck usually traveled alone and picked up a local band in whatever town and just assumed they would know all his songs (which they mostly did). Of course in Quebec, Offenbach were as big as Chuck Berry so it was more of a double bill, but the guys were thrilled to back up the living legend. Then when it was showtime, Chuck said that he didn’t want the guitar player, just the rhythm section. Offenbach’s guitarist was Jean Millaire, who was a bit of a guitar god in Quebec. I guess a lot of people were disappointed, but that’s how Chuck rolled.

While in Montreal, I got together with Allan Fraser and heard some of his recent solo recording as well as a live recording of Fraser & DeBolt in 1969. I just heard the first three or four tracks and it was jaw-dropping. Allan was a bit dismissive...”oh we’ve got much better live recordings than that” but the fact is nobody’s doing anything with them. I’ve got a couple of tapes from the sessions I produced in 1971 and who would have thought I’d have to be looking up restoration experts to “bake” some tapes I produced. Wait till this younger generation of folkies hear what F & DeB were doing in the 60s...the original acid folk.  Lots going on on the Fraser & DeBolt dossier. Watch for a big CBC Radio doc on “Inside the Music” and maybe even a CD of unreleased material. After all these years there are still thousands of rabid Fraser & DeBolt fans who would kill to hear some new material. I just put up a video on YouTube and Daisy has been loading up some great old pictures. Check it out at fraserdebolt.com

I've written more songs than...

...more songs than even I remember. My oldest musical friend, Sue Lothrop, called the other day and said she was working on an old tune we had worked up together a long time ago (that would be the early 70s). She said it was called “Blown Away Again” and recited a few lines on the phone but I drew a total blank. In fact I denied writing it and when she told me she had me on cassette singing it I still thought it must be somebody who sounded like me. Well last week I was in Montreal (sadly, for the funeral of a cousin who had been a big supporter of my music) and she sat me down and played me the tape and there’s no denying it – it’s me, singing and playing chords I never played before or since. She filled in the blanks and cleaned it up (literally, as she replaced the line “so I had a drink and a toke” - and I guess that line might even explain my memory lapse. So is it still intellectual property if you can’t remember you wrote it?

Speaking of old songs, I had a great Blues in the Schools session with the youngest class I’ve ever had to deal with (grade 2 or 3) and when I opened it up for questions, one of the little ones asked me to sing the first song I ever wrote. Well I happen to remember the first song I wrote, though I couldn’t quite get through the whole thing. It’s called “The Family That Cared”...”You went off to war in 1939, came back a hero after serving your time, thought you fought as well as you could, you were very sure that you understood, some of the quys who came back said ‘nobody cares’, but thank heaven you’ve got a family that cares”. It was a song for my dad, but he never heard it.  The kids were loving my version of blues history but I restrained myself from launching into the legend of Robert Johnson. The last time I was with a group this age and had them all wide-eyed telling them Robert Johnson had made a “deal with the devil” at the crossroads and how Robert was chasing women until the husband of one of them gave him some poison whiskey...at which point the teacher stood up at the back of the class and gave me a bit of a dirty look. We wrote a song called the “Room 5 Blues” and their teacher recorded it and put it up on YouTube <http://www.youtube.com/watch?v=ClmpaG6OCe4> . You won’t see the kids on the video (privacy issues) but you’ll hear them singing.

Notes from Music Week

Music Week was really only a couple of days for me and maybe that was one day too many but I always get somethin out of it - even obvious stuff bears repeating:

“Better to have no website than a dormant website” was a good tip. “Be the kind of person that others want to see succeed”  - Now there’s a good one. I think that came from networking guru Dan Kimpel. He was hilarious and knew all about networking and he practiced his craft in Hollywood. He went to events with a co-conspirator and they each took part of the room and whoever they met, they said “Have you met my friend Dan? Well, I’ll introduce you later...”  His partner knew that if he didn’t introduce her within the first 15 seconds that it was because he didn’t know the person’s name.  So she would introduce herself and the name would be revealed.  He though that admitting you had forgotten someone’s name was a horrible faux-pas and should be avoided at all costs. Here’s another rule of his: Never poke in on a conversation between two people. However, if there’s 3 or more, jump right in.

CMW got it right when they had a website that was able to display a last-minute late-night set by one of the “buzz bands”, Woodhands. Anyway I made a point of catching them and they were quite phenomenal. On the down side, CMW burried what to a large community would have been one of the most popular shows, turntablists Rob Swift and Mistah Sinista). According to my son the DJ, these guys are considered the top players in the land and have been for ten years. Not only were they under-promoted b ut their listing in the official printed programme guide was wrong. Seeing them close up doing their turntablist tricks was jaw-dropping.

Discovered a great new venue, The Wrongbar on Queen W near the Caddilac Lounge. Great production, nice layout. Mostly DJ’s but a nice big stage to accommodate a band. They’ve got everyhthing! I think I’ve heard “more monitor”  a million times but this was the first  time I heard a musician saying “more smoke”...and then there was some! I’m sure it was organic smoke,

Dear Bob Lefsetz

In the elevator at the Royal York Hotel I find out I’m riding with the “merch lady” who you beat up in the Q & A after your rant at Canadian Music Week. I thought she would be bummed but she had a great day and was now a celebrity of sorts at her merch booth. You made her day, maybe her year! What the Buddhists call “turning poison into medicine”

A Day in the Life of The Stringbuster

Tonight I was supposed to Open for Alfie Smith at the Free Times but the way I heard it, Alfie ended up opening for a big show in Hamilton (turns out it was April Wine).  Who’s to say which would be a better payday. There was not a big crowd at Free Times. Alfie’s last minute sub was a wonderful singer called Laura Aidanblaise. We swapped CD’s (always a delicate bit of backstage etiquette – when you ask someone to swap you put them on the spot...) We were done at ten so I headed over to Jerome Godboo’s regular Thursday at the Delta Chelsea. Jerome had invited me to come and sit in. I should know these things – being the (barely)managing editor of MapleBlues – but Fathead was filling in for Jerome that night and I figured I’d just brought my guitar for nothing. But then, talking to the boys on the break, Al said he had called me up to the stage but I guess I was in the washroom. Anyway I did make it up in the next set and did a couple of tunes. Wow, sitting in with Fathead...we’re in the big time now! It’s great that the Delta (the biggest hotel in the city) has supported the blues with this regular Thursday night of blues for a year now (they call it the “Delta Blues” of course). I would hope that blues lovers from out of town would make the Delta their hotel of choice in Toronto. Hey, I think I just wrote a commercial...haven’t done that since my ad-agency days in the late 60s.

Winterfolk moments

Day One: I take the stage in the back room of the Willow and after the first song I realize my shoes are stuck to the floor. Then I'm stepping up and down and the audience is breaking up with laughter because I'm making these crazy sticky sounds. I couldn't continue with that and I didn't want to inflict it on the next group so I got the waitress to take a moment to pass the mop. Mose Scarlett says I really "mopped up" at Winterfolk.

Day Two: This was a breakthrough. I got up at Marg's set and sang "What A Wonderful World" I don't think I've ever got on stage and sung without a guitar in my hands!

Day Three: The Campfire was a blast and now I just played a set with Mose Scarlett. I was playing bass and I believe I experienced sheer bliss (interspersed with moments of sheer terror - like when the key changed!).  And even though there were a few boo-boos, I love playing bass with him. I'll be joining him again at The Black Swan tomorrow at 5pm. I'm doing a solo set at 3pm.

Day Four: Lots more music and camaraderie, backed up Mose again and did a good solo set with a great audience - including some friends who had never heard me play. I love it when I can provide a pleasant surprise.

Blainettin #1

For those who are not familiar with the (mostly)monthly Blainletter, it’s a long rambling chronicle of my attempts to develop a music career in the Toronto music scene. This is an abbreviated version with less stories and gets right down to the blatant self-promotion:

Tuesday Night (tonight!) it’s the First Anniversary Campfire at Highway 61 Southern BBQ. Actually, the Campfire has only been going for 7 months, but the club has been open a year. My special guests this night will be Robin Banks, Son Roberts and barrelhouse piano player Roberta “Bertie” Hunt. I’m sure they’ll be a few surprises, too. Apparently Roots & Music Canada folks will be by to do their “reportage”. The address is 1620 Bayview, a couple of blocks south of Eglinton. We play from 7-10.

Thursday Night (Feb 25) I’ll be doing an opening set (8:30) for the Alfie Smith concert at Free Times Café, 320 College St.


“Blain Mops Up at Winterfolk” - Mose Scarlett

When I hit the stage for my first set at Winterfolk, the stage floor was so sticky that my feet were practically glued to the ground. Whe I lifted them up, the made weird squishy sounds and everybody laughed. After a couple of songs I asked the waitress to bring out a mop and I was thus able to spare all the performers that followed me at the Willow. I was subbing for Howard Gladstone, and also subbed for Mr. Rick and ended up playing bass with Mose Scarlett twice. Well, it will take more than a couple of passes to learn all those changes but Mose had good advice: “Don’t play what I’m playing, just be sure you’re following the melody.”

NEWS FLASH! “Two hardened Winterfolk soundmen reduced to goose bumps by Brian Blain song.”

It’s true, after my first set at Winterfolk, the sound man at the Willow said “I got goose-bumps when you sang that song about Lenny Breau”  Then a couple of days later, I did the same song and told the story of how I gave the soundman at the Willow goose bumps and a burly guy with beard shouted from the other side of the room “Well I’m a soundman and I just got goose bumps.”  That’s two, count ‘em, TWO, soundmen won over in one week-end.

My “discovery of the week” at Winterfolk was a great blues guy from the London area called Rick Taylor. Some may remember him from a long time ago, before my time in TO. He was away on the west coast but he’s back now and playing wih a vengeance! Honorable mention to the soft-spoken Rich Burnett from Guelph who shared the City Roots stage with me and played exquisitely on a beautiful hand-made guitar.



Out and About

Just in from hearing the “new” Sisters Euclid at the Orbit Room. The new guy is organist Mark Malana, a phenomenal player – this was the first time he played some of those tunes but you never would have known it. Kevin Breit would be hard to follow at the best of times but tonight he was giving the new kid a taste of how it’s going to be. Wild, unabashed improvisation – with Kevin taking solos by flipping his guitar backwards and rubbing the strings against his shirt opr by unplugging the guitar and making a rhythmic pattern by tapping the live plug with his thumb.  They’re only playing the Orbit on the last Monday of the month, but I plan on catching them again. Yesterday, I heard bluegrass at it’s best – James King from Virginia, with a new tenor singer/mandolinist Ron Spears who knocked me out.

If you’re my age, you might remember a folk-phenomenon called Fraser & DeBolt. They were the original “acid folk” and they came by that label honestly. I worked with them in those days and we’re still great friends  and they’ve asked me to help with the Fraser & DeBolt website – I put in a Flickr slideshow and a video of Allan and Daisy performing at the Philadelphia Folk Festival in 1971.  That reminds me, if you go to brianblain.ca,  you will see another Flickr slideshow, this one with lots of cool old posters and promo shots. Some pretty funny (check out the Alligators, Butch Coulter, Allan Fraser and me, circa 1974) www.fraserdebolt.com

If you’re reading this at 9am or before, tune in CIUT.FM and you’ll hear hear Harry Manx playing some new tunes live in the studio (how often does that happen??) Hey, that sounds like my guitar!

If you’d like to receive the Blainletter (and these occasional Blainblasts) go to http://brianblain.fanbridge.com and sign up!  Thanks for your support, BrianB




Out and About

Winterfolkin'

It’s Winterfolk week-end (a long week-end this year) and for those not glued in front of their TV watching the Olympics, the Danforth/Broadview area will be brimming with folk music lovers...and there’s quite a bit of great blues too, including moi on the following occasions...

11pm Friday at The Willow I’ll be subbing for host Howard Gladstone at the late-night Toronto City Roots Presents in the back room. Howard Gladstone will kick it off then race off to the airport or something. The guests are Rich Burnett, Crabtree & Mills and Jessica Stewart Few.

3pm at the Dora Keogh on Sunday, Valentine’s Day, I’ll be doing a set. I just started writing a Valentine’s Day song but don’t think it’ll be finished in time. It’s called “The Woman Done Left Me Come Back Baby Blues” - maybe not so appropriate for Valentine’s...

8pm Sunday evening I’ll be downstairs hosting Colorblind Brian’s Blues Campfire with Alfie Smith, Rick Hodgson, and Rick Taylor. Gary Kendall will be sitting in on bass and maybe a few surprise guests.  They also have me down at a “Meet the Artist” thang which is the same time as the Campfire so I hope you slip in to the back room if you’d like a CD signed...

3pm Monday the 15th (Family Day!) I’ll be doing a solo set downstairs at the Black Swan.

As I look over the Winterfolk Schedule, there’s so many artists I want to see...lots of them playing at the same time as me. Oh Well. Kudos to Brian Gladstone and his team of volunteers. They do a lot with few resources

And later in the month....

Thursday, February 25th I’m back at the venerable Free Times Café at 320 College. I’m on at 8:30pm followed by Hamilton slide-meister Alfie Smith


[MOATM (Music On At The Moment) Chris Rawlings classic album “Pearl River Turnaround” with lots of familiar voices (the McGarrigles) and the sweet pedal steel sounds of the dearly departed Ron Dann] They should get Chris up to Winterfolk...he lives just down the street.

What Happened to January?

I woke up on New Year's Day feeling sick as a dog (no, it wasn't because I overindulged on New year's Eve - I had a very quiet night at home). I was supposed to play at the wedding of friends Paul and Debbie but had to bail and for the next two weeks I was nursing a nasty cold that wouldn't quit. Then, just when I got back on my feet I was felled by a gall-bladder attack and missed out on the Maple Blues Awards and the Songwriters Hall of Fame event the next morning. Anyway, I'm feeling better now...in case you were getting worried about me. My visit to the emergency ward turned a little viral at the MBAs with folks hearing that “Brian is in the hospital” and I’m still deflecting concerns for my health...I’m OK, you’re OK.

I mustered up enough strength to cast my “runes” on New Year’s Day – I try to check in with “the oracle” on auspicious days. Well, as ever, the message from the runes was “Stand Still”,  “Plant the seed and wait for the harvest”, “now is not the time for drastic action” and “wait and watch for signs of Spring”...argh, when are we gonna get the bloody harvest?

Had some great gigs at the end of the year, but what does it say about your music career when the most memorable gigs are Christmas parties in someone’s living room or sitting around the kitchen table with old musical friends? I made an appearance at the Toronto Fingerstyle soiree – I got up to do a couple of tunes and one of them was “Another Song About Alice” but when I was introducing it and referred to “Alice’s Restaurant”, there was an audible gasp in the room as they contemplated the horrible prospect that I was about to launch into that 20-minute ramble of Arlo’s. (for those who haven’t heard it, I’ve written a “where is she now” song about Alice Brock. There’s a video clip on the website.)

Eno Speaks

On a celebration of human frailty

"The other day I heard a band who had the worst singer, the most out of time
drummer and most out of tune guitarist I've ever heard on a professional
record, and I thought, at last, the reaction against pro-tools perfection
has set in. A pro-tools engineer would have sorted it all out, but this band
was an actual celebration of human frailty. It was so rough it was really
encouraging."

http://www.guardian.co.uk/music/2010/jan/17/brian-eno-interview-paul-morley

Overqualified featured on Itunes

Just got a Google Alert and when I clicked through I discover that
Overqualified For The Blues is an "iTunes Preview" (whatever that means!).
Interesting to note than when I click again I get a little message telling
me I can't buy it because I'm not in the right country - despite the fact
that it was made her. Go figure!

Out and About: Just in from seeing Pork Belly Futures playing in a noisy bar
on the Danforth. Paul Quarington, with tubes running into his nose, was in
fine form and the band was rocking. Paul was on the radio this morning
joking about how he had better crank up the oxygen today because he had a
gig.

Blainletter #25 December 1, 2009

In This Issue:

• Season’s Greetings
• Colorblind Brian's Blues Campfire (that’s TONIGHT – grab your guitar
and come on down to Highway 61)
• Yes, there will be a new album in 2010
• Women’s Blues Revue, Downchild and Massey Hall
• Overqualified still spinning
• Out and About
• Thelonious Monk’s advice for musicians (via Steve Lacey)
• Are You a Google Genius?

Well, it is December so I will say Season’s Greetings to all my Blainletter subscribers and on this occasion I’m doing a little outreach and blasting the whole world via MySpace, Facebook and the listserves where I mostly lurk (sorry for any duplicates). It’s a one time thang so no need to unsubscribe unless you’re already subscribed.

I hope I’m not jumping the gun but the Holiday Blainletter is usually a last minute scramble between Christmas and New Year and I thought I’d get it out of the way right now – not that I have a lot of gigs to promote this month. I’ve got a band gig on the calendar for the end of January but I hesitate to advertise it because the venue is not convinced they will continue presenting live music.

Last month three gigs fell in my lap and then fell right out of my lap. It's not like I'm getting rejections, because I don’t even ask. So far, I've been happy to play when invited and leave it at that but I think I need to get more pro-active, especially now in the last gasp for festival submissions. If you've heard my music and you like what I’m doing, please feel free to put a bug in some club owner or festival director's ear. Word of mouth seems to carry a lot more weight than a fancy press kit.

Still gathering around the Campfire:
Meanwhile “Colorblind Brian’s Blues Campfire” every Tuesday (7 to 10pm) at Highway 61 (1620 Bayview) has been going great. Interesting guests...many of them part-timers or hobbyists but I love having them around the campfire and making them sound better than they ever have. Many pros drop by too, the elegant Rita di Ghent, Doc Mclean & Big Dave dropped in on their cross-country "Century" tour, Robin Banks raised the roof, Son Roberts a real natural and a delight to play with, Roberta Hunt and Martin Aucoin have brought their keyboards on occasion and last week I had “Professor Piano” himself, Scott Cushnie. Everybody loves the food and the campfire is much less of a "show" than a regular gig or “open stage.” Musicians arrive, pull up a chair… it’s very casual. We tend to stretch out the songs, everybody plays along and there's no break. Who ever heard of a break at a campfire? We just keep passing around the mike, the guitar and the bass. We play for three hours then it's over.

Yes, there will be a new album in 2010
I’m getting ready to record a new batch of songs including a new version of “Another Song About Alice,” my paean to the wonderful Alice Brock, last celebrated in the song “Alice’s Restaurant.” She’s a great artist and has been an angel to many, including my family, and I’m doing my bit to give her the recognition she deserves (visit www.AliceBrock.com <http://www.AliceBrock.com> ). This tune and several other new compositions lend themselves to the “bluesgrass” sound that has morphed from several gigs I’ve done with members of the Foggy Hogtown Boys and other local bluegrass players. It’s like bluegrass slowed down and dropped into a minor key. Of course I’ve got some rockin’ tunes to record with the fabulous Blainettes and maybe a track or two with my son the DJ (we call it BLAIN! BLAIN!)

Women’s Blues Revue, Downchild and Massey Hall
Donna Grantis and Rachelle Van Zandt were the two surprises of the night for me. These two women have raised the bar for female blues guitarists...both virtuoso players...and they’ve got soul. Mind you, I don’t think either could do the demanding "utility" job of Marg Stowe, house guitarist for the band for many years. Everybody agreed, all the performances were exceptional. There wasn't a weak set by anyone. Carrie and Suzie each did a song too and raised the roof. Some of my friends thought Sass Jordan was a little out of place, but Shakura’s set was a hard act to follow, for anyone short of Aretha herself. If you hear the show on the radio, you might even hear my name come up in the intro as Shelagh Rogers read a quote from me about Carrie's performance at a previous show. She referred to me as "the great bluesman Brian Blain" and I told her I told her I’m putting that on my website!

Backstage at the WBR (the stage door, to be precise) was the first time in recent memory that someone felt the need to calm me down. Anybody who knows me will tell you I am the most mild-mannered guy you will ever meet, but…well let me tell you the whole story: I arrive at the Massey Hall box office to see the Women's Blues Revue and get tapped on the shoulder by a west coast blues radio guy who is supposed to be on the guest list but isn't. He's asking me to help out and I go on a mission to find the prez to arrange the comps. I know from experience that when you’re dealing with Massey Hall you have to do it “by the book.” I can't find the prez at the bar so I head out to the stage door to see if he's backstage. I’m usually hanging backstage at this event because the band are long-time friends and bandmates but this time I was just trying to make my way to my seat to enjoy the show. The "gatekeeper" at the stage door at Massey Hall is a grim character who’s been there forever - probably because he does his job so well. Nobody gets past Gene unless they are on *his* list. I'm sure he would turn away the President of the United States if he wasn't on the list. Meanwhile, I just wanted to get a message to the boss! Anyway, after repeated run-arounds and conversations to various locations on an antiquated walkie-talkie system where he had to repeat the name three times to be understood, a couple of Blues Society staff had came back to the stage door. Gene was calling the office and when I tried to tell him that the guests were in the box office, he said something like "I can't do this any faster, sir" and I responded "I think you could"...well that's when I was told to "take it easy". I guess I might be getting a little ornery now that I’m pushing 64. You have been warned.

Just the week before, I was reminded that my ladder does not extend to the lofty heights of Massey Hall when I had to go through three publicists in order to schmooze my way into the big Downchild 40th anniversary show, which in fact was sold out. Neither the publicist for the Hall or for the band had any more comps but alas a wonderful young lady at the record label came through for me. Downchild gave an impeccable show, of course - worthy of the big stage at Massey Hall. I was in the balcony for Downchild and I think it sounded better there than the third row, where I sat for the Women’s Blues Revue. The vocals sounded boxy and the bass did not have much definition (considering it was the phenomenal Brandi Disterheft playing it). Can't remember if the lighting was any better at Downchild, but where was the light man at the Women's Blues? It seemed like all the lights were on, all the time, and it's too bad because the ladies were looking fabulous and it would have been great. There was one dramatic scene where Shakura S'Aida slithered onto the stage - slow and cat-like while Donna Grantis was playing a great solo. It would be great for the photographers but in their old-fashioned way, Massey Hall still forbids picture taking and enforces it aggressively.

Overqualified still spinning:
I was happy to see one of my tunes on Danny Marks’ playlist this week, and they still crop up here and there. The days of being in the “rotation” are over, I’m afraid, but I still get the occasional encouragement and this month it came in the form of two “fan” letters, both from CBC listeners in the far north (hey, I thought Jurgen Goth was the only CBC show that ever played me but maybe I’ve got a champion in the Arctic). One letter was from Yukon and the other from Nunavut and both were from ex-pat Townshippers who remembered the Terrace Inn and had great memories of that lakeside bar in Quebec where I played with the band Oliver Klaus in the mid-seventies. One of the letters was forwarded to me by the band leader, Maurice “Oliver Klaus” Singfield who has suggested I come down next year and take part in their annual reunion concert. Maybe I can parlay that into a Quebec tour!

I'm also learning a couple of Stompin Tom songs so I can be part of a Stompin' Tom tribute night in February. And last week I was at an agent's office and the owner of the agency liked my beard and mentioned they were looking for Santa Clauses, but no, I have to draw the line somewhere.

Out and About:
I was supposed to go to the John Mayall show, had it all arranged, but I didn't pay attention to the start time (7pm, WTF?) and it would have been over by the time I got there. I heard some great reports...especially about his new guitarist (Rocky Athas?) I remember seeing Coco Montoya for the first time when he played with Mayall at Ontario Place. I continue to be amazed by Coco, but I'd like to see this new guy. There were lots of other great shows on my calendar in November, but I missed most of them. I did get out to the Sky a couple of times, and saw Lily Sazz's band, Groove Corporation rocking the house and then last Friday I took the ex-wife dancing and where better than Paul James Band at the sky. It’s been great having this regular Tuesday gig at Highway 61, but I had to miss a lot of great shows this month including John Showman’s CD release, the Socan Awards, Paul Reddick and lots of other faves.

Thelonious Monk’s advice for musicians (via Steve Lacey):
Just because you're not a drummer, doesn't mean that you don't have to keep
time. Pat your foot and sing the melody in your head when you play.
Stop playing all those bullshit notes. Make the drummer sound good.

Don't play the piano part, I'm playing that. Don't listen to me, I'm supposed
to be accompanying you.

Don't play everything, let some things go by. Some music is just imagined.

What you don't play can be more important than what you do play.

A note can be as small as a pin or as big as the world, it depends on your
imagination.

Stay in shape! (When the gig comes, you have to make it.)

What should we wear tonight? Be as sharp as possible.


Looking for a Google Genius:
Much as I would rather be playing guitar, the demands of being a part-time (desktop)publishing mogul are still taking up a lot of my energy but my son the DJ has been pitching in with the “family business” and I’m making greater use of some of the wonderful online publishing tools being developed by Google. To that end, I am searching for someone who is more comfortable than I with Google Code and Google Gadgets and thought I would mention it to my immediate circle before I start trolling in the tech sector. The idea of using open source software and free utilities to service non-profit arts organizations does not necessarily appeal to most entrepreneurs and venture capitalists, but if you happen to know an altruistic techie, send him over.

Thanks for reading this far. Most of this is extracted from my blog at http://torontobluesdiary.blogspot.com.

If you've enjoyed this Blainletter and you're not a subscriber, go to http://brianblain.fanbridge.com to sign up and get one every month or so.

Also, I loaded up a bunch of pics (over 75) into the "Musical Friends" gallery on my Facebook Fan Page. Click over to http://www.facebook.com/pages/Brian-Blain/70605028420 and if you haven't become a fan yet, there's a button for that, too. And now you can even follow me on Twitter.com/brianblain

Women's Blues Revue & other stuff

This month the gigs have been going away as fast as they show up. There's
band gig on the calendar for the end of January but I hestitate to advertise
it because the venue is not convinced they will continue presenting live
music. Meanwhile the Tuesday Blues Campfire at Highway 61 has been going
great. Interesting guests...many of them part-timers or hobbyists but I love
having them around the campfire and making them sound better than they ever
have. Many pros drop by too, Doc Mclean & Big Dave dropped in on their
cross-country "Century" tour, Robin Banks raised the roof, Son Roberts who I
find very musically simpatico, Roberta Hunt and Martin Aucoin have brought
their keyboards on occasion and last week I had Professor Piano himself,
Scott Cushnie. I was just watching Martin on TV with his Dylan band, The
Dylan Tree. Everybody loves the barbeque and the campfire is much less of a
"show" than other open stages. We tend to stretch out the songs and play
lots of solos, but people dig it. And there's no break. Who ever heard of a
break at the campfire? We just keep passing around the mike and the guitar
and the bass and we play for three hours then it's over

And now for something completely different: I'm currently learning a couple
of Stompin Tom songs so I can be part of a Stompin' Tom tribute night in
February. And last week I was at an agent's office and the owner of the
agency liked my beard and mentioned they were looking for Santa Clauses, but
no, I have to draw the line somewhere. Actually I probably don't have the
tempermant for it anymore. I've lately been accused of being "mean" (the
accusation comes from the ex-wife but I still take it to heart) and last
night I think was the first time I ever heard someone say "Take it easy,
Brian". Let me tell you the whole story: I arrive at the Massey Hall box
office to see the Women's Blues Revue and get tapped on the shoulder by a
west coast blues radio guy who is supposed to be on the guest list but
isn't. He's asking me to help out and I go on a mission to find the prez to
arrange the comps. I know from experience that this will not be a
straightforward operation and when I can't find the prez at the bar I head
out to the stage door to see if he's backstage. The "gatekeeper" at the
stage door at Massey Hall is a grim character called Gene who has been doing
that job forever - probably because he does it so well. Nobody gets past
Gene unless they are on *his* list. I'm sure he would turn away the
President of the United States if he wasn't on the list. Meanwhile, I didn't
even want to get backstage, I just wanted to get a message to the boss.
(even though I've ended up backstage at most of these events, sometimes on
duty, sometime not. Most of the Women's Blues Revue band current or former
bandmates). Anyway, after repeated conversations to various locations on an
antiquated walkie-talkie system where Gene had to repeat the name three
times to be understood. By then a couple of Blues Society staff had come
back to the stage door abd Gene was calling the office and when I tried to
tell him that the guests were in the box office, he said something like "I
can't do this any faster, sir" and I responded "I think you could"...well
that's when I was told to "Take it easy". I guess I'm getting ornery as I
approach old age. You have been warned.

The week before, I was also reminded that my ladder does not reach as high
as Massey Hall when I had to go through three publicists in order to
schmooze my way into the big Downchild 40th anniversary show, which in fact
was sold out, but neithe the publicist for the Hall or for the band had any
more comps but alas a wonderful youg lady at the record label came through
for me. Downchild gave an impeccable show, of course - worthy of the big
stage at Massey Hall. I was in the bacony for Downchild and I think it
sounded better than third row. The vocals sounded boxy and the bass was
Muddy. Haven't heard any comments from the band but in the past they've
thought it was too loud on stage. Can't remember if the lighting was any
better at Downchild, but the Women's Blues Revue had little or no light man.
All the lights on, all the time, and it's too bad because there were many
opportunities for lighting effects. There was one dramatic scene where
Shakura S'Aida move onto the stage - slow and cat-like while Donna Grantis
is playing a great solo. It would be great for the photographers but in
their old-fashioned way, Massey Hall still forbids picture taking and
enforces it aggressively.

Donna and Rachelle Van Zandt were the two surprises of the night for me.
These two women have raised the bar for female blues guitarists...virtuoso
players...and they got soul. Mind you, neither could do the demanding
utility job of Marg Stowe, house guitarist for the band for many years.
Everybody agreed, all the performances were exceptional. There wasn't a weak
set by anyone. Carrie and Suzie each did a song too and raised the roof. If
you hear this on the radio, you might even hear my name come up in the intro
as Shelagh Rogers read a quote from me about Carrie's performance at a
previous show. She calls me "the great bluesman Brian Blain" and I told her
I was going to use that quote!

Other stuff I've seen and plan to see: I was supposed to go to the John
Mayall show, had it all arranged, but I didn't pay attention to the start
time (7pm, WTF?) and it would have been over by the time I got there. I
heard some great reports...especially about his new guitarist (Rocky Athas?)
I remember seeing Coco Montoya for the first time when he played with Mayall
at Ontario Place. I continue to be amazed by Coco, but I'd like to see this
new guy. There were lots of other great shows on my calendar in November,
but I missed most of them. I did get out to the Sky a couple of times, and
saw Lily's band, Groove Corporation rocking the house and then last Friday
took the ex-wife dancing and where better than Paul James Band at the sky.

Quote of the Day

There are moments where the connection between one full heart and the next
is so close and quick that singing is the only possible expression. I really
believe that the spontaneous intimacy and joy of moments like that can show
us what we are for: it's like having, just for an instant, the attention of
the universe, discovering itself. ~Alexander Waddell~

Downchild at Massey Hall

After a solid solo set from Colin Linden with some fine pingerpicking,
Downchild took the stage and gave their (typically) flawless performance
with guest appearances by Dan Aycroyd, Colin James and young wunderkind
Jonah, from Montreal. Packed house, they were hanging from the rafters.

Pick A Niche And Dominate It

Indie artists must break from a niche. That niche must be well delineated
and can be very very small and still be effective. The mistake most artists
make is making a pop record that does not have a niche to break out of.

The adage, think globally act locally can be re-stated think mainstream, act
niche. The newer your niche, the greater your chance of becoming identified
with it. Almost every Tommy Boy superstar broke out of a niche they
dominated if they did not invent. Examples: De La Soul: hip hop hippies,
House of Pain ­ Irish hip hop, Queen Latifah: first proud and powerful
African American woman in hip hop, Ru Paul, first drag queen with dance hit,
and so on.

So whatever you genre, sub-genre or micro niche there will usually be media
that dominates that view of reality. If you are a militant political artist,
you would launch in the niche militant political blogs and magazines to
establish a beach head. If you a rapper that rapped about uzis and AK¹s
maybe your entry would be blogs and mags about guns and ammo. David Hazan
mentioned a band that was way into Anime and they get written up in the
Anime blogs and make a living playing the Anime shows. Will they be able to
cross to mainstream? Maybe not but they can be the lords of their niche and
make a good living doing that.

So rather than being specific, I would point to blogs and mags in your
micro-niche that might not even be music-oriented. You may be more news to a
non-music site and reach a core audience that way than trying to get
Pitchfork to discover you. There are also opportunities to perform at
industry shows in non music industry events and get paid much better than
you would in the glutted music market.

In other words make your presentation and target audience as unique as
possible so you can be the king of that niche, then target the non-music
publications (both on line and off) and the events in that niche. You will
be building fans, gaining awareness and making money before you even attempt
to cross into the ³music industry.²

- Tom Silverman

(from The Indie Maximum Exposure 100 was created by a team of industry
experts and by artists that are making a full-time living from their music.
Visit our friends at HypeBot to obtain a PDF of the Indie Maximum Exposure
100.)

Advice from musicians from Steve Lacey (chanelling Thelonious Monk)

Just because you're not a drummer, doesn't mean that you don't have to keep
time. Pat your foot and sing the melody in your head when you play.

Stop playing all those bullshit notes. Make the drummer sound good.

Don't play the piano part, I'm playing that.Don't listen to me, I'm supposed
to be accompanying you.

Don't play everything, let some things go by. Some music is just imagined.

What you don't play can be more important than what you do play.

A note can be as small as a pin or as big as the world, it depends on your
imagination.

Stay in shape! (When the gig comes, you have to make it.)

What should we wear tonight? Be as sharp as possible.

Quote of the Day

What if democracy is two wolves and a sheep voting on what's for dinner

Where is the audience?

Here I am pictured with JW-Jones and Jesse Greene, winner of Ottawa's Blues
Challenge competition. We had just been jamming at a club called Irene's in
Ottawa where I landed to attent the Ontario Council of Folk Festivals
conference in Ottawa. The OCFF had five or six hundred earnest folkies
showcasing mostly to themselves and the odd festival director or booking
agent. I had not arranged any showcase for myself (I can't swallow the
pay-to-play thang, even though I know it can help with your "career
development.") I did participate in the jams, though, so I was at a couple
of campfires where there was a small circle of musicians in a very large
room (with no audience to speak of) then a late night jam in the hotel bar.
Trevor Mills was the host & bass player. Michelle played drums and Raven
played guitar. There were some guests floating in and out, Coco Love Alcorn
and a guy who's quite well known but damned if I can remember his name. And
some guy wheeled in a set of vibes and that was cool. Luke Doucet was there
too but he didn't play. I had a few words with him, relating how we had both
been taken into the extended Russell-Titcomb family. The music rocked but
there was hardly anybody in the room. But I guess there were lots of people
hanging in the lounge area off to the side because the next morning at
breakfast I had at least three people complimenting me on my playing...and
two of them were folks that might just be able to help with the "career
development".

This week I went to several events and they were all under-attended. Amazing
music, and no one to hear it. Danny Brooks was having a CD release at the
Sky Restaurant & Lounge - I gave the Sky a little bumpf in the MapleBlues
but it wasn't much help for Danny's night - I'm sure he was disappointed
with the turn out. A 9-piece band with horns and the Levy sisters, Papa John
on guitar and Lance Anderson on organ. What a great show!

Alex Pangman was doing a "pre-launch" media event (which was mostly about
here successful recovery from a double lung transplant) and she had the
right idea: she made a podcast and you can see it at http://ow.ly/xFM3. She
did a few tunes with Peter Hill and that fantastic fiddler Drew Jurecka.
Drew and I reminisced about playing together on a subway train (yes it was a
real gig, and a good paying one at that).

After that I headed over to the Gladstone for a piano extravaganza (they had
two grand pianos on the stage) which featured Julian Fauth, Kenny "Blues
Boss" Wayne and a couple of "old timers", Bobby Blackburn and Curly Bridges.
The old guys did the most predictable, generic tunes..."Caledonia", "Got Me
Running"...maybe even "Sweet Home Chicago." This was all destined for a CD
and I'm sure they got some great tracks. Chris Whiteley was leading the band
and Diana Braithwaite made a guest appearance - I had the pleasure of
handing Diana a newsletter, hot off the press, with her picture on the
cover. This issue had all the nominees for the Maple Blues Awards and pretty
well everyone on that stage was a nominee...and yet, you have to wonder if
they would have made any money on that show. Not with the cartage/rental of
two grand pianos! Anyway, they were recording an album so they had a budget
but when you look at all the promotion they did, plus the "marquee value"
they should have had twice as many people. Then a couple of nights later,
Margaret Stowe invites me to a last-minute gig at Free Times and there's
hardly anybody. Amazing music and no one to appreciate it. I sat in for a
few tunes and had a great time.

The Tuesday Campfire is not exactly packing them in either - sometimes we
have more players than audience. But there always ends up being a few tables
and I guess they must consider it worthwhile because we've been doing almost
4 months now and they haven't shut me down yet. But Every Tuesday I wonder
if this is going to be the last. Catch it while you can!

ADISQ

Through a rather unfortunate turn of events I have ended up with a TV in my
room, having been TV-less for many years. There's a reason I didn't have a
TV, and now I'm remembering why. I tend to give the TV "first refusal" on my
time - always checking to see if there's something interesting. Usually
there isn't (I don't have cable) but tonight I caught the last part of the
ADISQ Awards gala (Quebec's version of the JUNOs) and what a moment in
Quebec Music history to see Renee Martel up at the podium accepting the
award for best live show of the year. She was overwhelmed and I knew why
when she said "I've been in this business 57 years and this is the first
time I received a nomination." I remember her as a child star, appearing on
noontime TV show hosted by her father, a local country & western singer in
Shrbrooke. As a teenager, she had a hit record with a song composed by Russ
Kelley (yes, the same Russ Kelley who now heads the music section at Canada
Council). Following her, the "grand dame" of Quebec music, Ginette Reno won
the next two trophies and proclaimed (pardon my rough translation) "Grandma
is still going strong" and finished with something like "now I'm going to go
get shit-faced!"

You can't give it away

I just got another Google Alert pointing me to a blog where some
over-zealous blues fan has ripped all his his favourite blues albums (and I
have to compliment him on his graphic treatment of the album covers - tasty
3D effect) and offers them as free downloads. Part of me is flattered to be
included in such illustrious company but my the business side of my brain
(all 10%) feels rather ripped off. I tried to download my own own album but
got a message that all the "free" channels were occupied and advising me to
purchase a "premium" account. This is the future of music distribution IMHO.
People will pay a set fee to access all the music they want, but hopefully a
little bit of that will trickle down to the creators...

Another similar site I discovered giving away my music had a rather unique
approach: First they would offer it for free. Then, if there was any demand
(downloads), a small price would be added (.11 on this site). Then if
anybody bought it at .11, the price would be boosted to .20 and would
eventually work its way up to .99. Also a worthy approach, if any of that
$$$ made its way to the creators.

I got a little self-conscious when I read a post from a noted music
journalist/musician in this town who referred to "self-centered musical
blogs". First, to get some self-centered stuff out of the way, I was happy
to be the "house musician" on Whistle Radio last Friday. I went with the
intention to play a lot of new songs, but I ended up pulling out songs that
tied in with the topic being discussed. I got a request for "The Story of
the Magic Pick" and took a moment on a break and tried to remember the words
but they are long gone. Last time I wanted to do this tune, I had to dig up
the old 45 which had the lyrics printed on the back. I guess I better check
it out again.

Quote of the Day

"I always had the notion that I had a tiny garden to cultivate."
-Leonard Cohen.

Around the Campfire

Tuesdays are full of surprises since I started the Blues campfire at Highway 61 BBQ. Last Tuesday I looked up at the doorway (which is right in front of the stage) and it was mostly filled by the legendary Big Dave McLean. Right behind him was Doc MacLean. They're one-third of the way through their cross-Canada "Century Tour" - playing over 100 dates. They were not looking the worse for wear - yet! It was a delight having them around the Campfire. Rita di Ghent and her partner Sam "The Shark" were also in the house, Rita getting right into it warming her hands over the ersatz campfire. There was also another McLean at the Campfire, Dan Mclean, who demonstrated his own unique take on some R&B classics.

Quote of the Day

"MTV is about fame. For a while there, the two merged, music and fame were
interwoven. But then fame came to rule. 'Look good, be a pawn in our game
and we'll hook you up with songwriters and stylists, we'll create a product
that will make you famous!" - Bob Lefsetz

Quote of the Day

"The joy of playing is liberation. The joy of practicing is concentration."
- Kenny Werner

re-learning

OK, this is bad. At my Campfire last Tuesday I decided to pull out a song I
hadn't done in ages - One Way Ticket - and would you believe I just
couldn't remember how it went. That's bad. I'm going to have to go back and
listen to the CD. This is like when I forgot the words to "The Story of the
Magic Pick" and had to get the lyrics off the sleeve!

gigs and gab

Brian and the Blainettes at The Silver Dollar Room, Saturday July 18 (showtime 8:00pm)
Looking forward to playing with two of the top sax players in town, Colleen Allen and Carrie Chesnutt. Colleen will be playing baritone, not her main axe but she loves the change and I love the driving sound of a baritone and tenor pumping together. If you've heard James Hunter, you know what I'm talking about.
 
I'm also delighted to bring the wonderful harp playing of Butch Coulter to the Silver Dollar stage. There's a lot of great harp players in this town, but you will hear right away that Butch doesn't sound like any of them. I'd like to say it's a "European" sound, but I think he always played like that. We're both from the Sherbrooke area and played together in a couple of bands in our youth. He's been living in Europe  for many years and loves it. I've done three European tours with Butch, two as a duo and most recently backing up powerhouse vocalist Kathi McDonald. Both were long standing band mates of Long John Baldry and I too can wear that mantle having subbed for Papa John King on a Baldry gig here in Ontario a few years back.
 
Colorblind Brian's Blues Campfire Every Tues (7:30pm) at Highway 61 BBQ
Some of you long standing Blainfans might remember my Thursday sessions at the Tranzac a few years back. That residency lasted about a year and just about every blues guy in town (and many visitors) guested with me. Since then I have hosted many blues "campfires" at the Ontario Council of Folk Festivals, Blues Summitt and the Harvest Jazz & Blues Festival in New Brunswick. Now we'll be doing it every Tuesday at the best BBQ joint in town (don't take my word for it, check it out). The location is 1620 Bayview. Come and join in the song circle or just sit back and enjoy some of the fine up-and-coming blues players in town…and maybe a few veterans will grace us with their presence.
 
Saab Story still has some traction
Jazz-FM has Saab Story on their playlist for the longest time…a couple of years. Once I had the opportunity to thank head honcho Ross Porter and wondered aloud  how long they play a track and he said "Once it's in the computer it stays there until someone takes it out". Well it must still be there, because I heard it was being played as a segue from the news items about the purchase/sale of the Saab car company. I knew I should have approached Saab with my song….I might try it yet if they're still making cars a year from now.

Jazzfest Adventures
Maybe I'll have a chance to relate some of my behind-the-scenes gossip in a future blog but suffice it to say it was ten busy days fore this old blues guy – Those ten days are the closest I ever get to a full time job. My discovery of the year was drummer Antonio Sanchez who just amazed me in his performances with Pat Metheny/Gary Burton and then with Kenny Werner…that is until the last night of the festival when I hear a young organist called Corey Henry playing with Kenny Garrett in the closing concert. I have heard DeFrancesco and Tony Monaco close up and I heard Coreay pull some sounds out of that B3 that I've never heard before…phenomenal. I never had an angle where I could see his feet annd asked him after the show if he used the pedals sometimes and he replied that he had used them on three of the tunes…and I never even noticed!
 
I was unable to make my usual appearance at the Jazz Festival Volunteer Party, because I was attending the Twilight Memorial service for Jackie Washington in Hamilton (what a beautiful gathering) but I did get a festival "Gig" of sorts, but it was not the Brian Blain we all know and love but rather my "dark side" ambient electronica persona pumping out loud aggressive beats with my son the DJ (COI) with the addition of Rob Gray and a couple of keyboard interventions by John Farah - a brilliant musician...and I think he knows it. He says he's headed for Carnegie Hall and I believe him. I don't know enough keyboard to say but I think this guy is the next Keith Jarrett or Chick Corea - with an nuclear arsenal of modern sounds to satisfy the dub-step demographic.
 
Overheard at an electronica venue -"Play us some sounds that we've never heard" - They're more interested in sounds than music. But at least they're interested in something! More audiences should be like that.
 
My favouriite show of the festival was the same night as my gig, and despite the protestations of my bioy Joel, I was not going to miss my hero Mose Allison and he fulfilled every expectation - he played a non-stop selection of tunes that he'd written interspersed with some blues, which he always credited.
 
I was overseeing the daily blasts about festival goings-on and the only one I wrote myself was about Mose, and wouldn't you know I didn't recognize the drummer and assumed he had come up with Mose. Well, I was immediately corrected by an astute jazz fan (darre I say "jazz police"??)  Look at what he wrote to me: "Codswallop, BrianB! John Sumner is as local as you can get – unless you want to invoke his Irish ancestry – living on Isabella St. and plays regularly with Mark Eisenman and Steve Wallace. Sheesh." Apparently Mose doesn't like to be hearing a lot of back-beat, and sure enough Sumner kept his brushes going and shuffled along quite nicely.
 
Meanwhile I at least knew who the bass player was - Neil Swainson...a most highly regarded player who could play anything I'm sure, but was that a bead of sweat forming on that brow? Mose had some great tunes I'd never heard - "Certified Senior Citizen" was one of them and there were several others just as funny and insightful as his well-known material. He certainly has his own approach to the blues - something I strive for myself.

I must jump now, try to get this out and do some preparations for another gig which I cannot tell you about "officially". I think I will need a new persona – "Slim-Something"…
 
Facebook Friends: I have created a "fan page" for folks who like what I'm doing musically and if you count yourself in that select group then please go to the link and "become a fan": http://www.facebook.com/pages/Brian-Blain/70605028420

 
Quote of the Day: "I don't think, I just concentrate." (Jaco Pastorius)

More jazzfest

The Brandi Disterheft Sextet kicked off the Dave Brubeck show...actually it was Brandi herself who started the set with a lengthy bass soliloquy that set us up for some of the most inventive and adventurous music to be heard in the course of the festival. Everything had her unique stamp on it - something every musician strives for and she has reached it at a rather early stage in her career. It was mostly originals from her upcoming album, but even the covers sounded brand new. Their reading of "In My Solitude" started with a gorgeous spacey sax intro from Chris Gale and all the players were in top form on this, the ninth date of their summer festival tour. The audience was with them from the start and gave a standing ovation halfway through the set. How often does that happen? 

Always bring one more power bar than you need

Just back from my festival "Gig" which was my ambient electronica persona
along with my son the DJ (COI) with the addition of Rob Gray and a couple of
keyboard interventions by John Farah - a brilliant musician...and I think he
knows it. I don't know enough keyboard to say but I think this guy is the
next Keith Jarrett or Chick Corea - with an nuclear arsenal of modern sounds
to satisfy the dub-step demographic. Overheard at an electronica venue -
"Play us some sounds that we've never heard" - They're more interested in
sounds than music. But at least they're interested in something! More
audiences should be like that.

Mose Allison fulfilled every expectation - he played a non-stop selection of
tunes that he'd written interspersed with some blues, which he always
credited. The drummer was not familiar to me - I bet he came with Mose (oops, I got corrected on this when I posted this in one of the Jazz Festival updates. This is what I heard from a knowledgeable jazz fann: "Codswallop, BrianB! John Sumner is as local as you can get – unless you want to invoke his Irish ancestry – living on Isabella St. and plays regularly with Mark Eisenman and Steve Wallace. Sheesh." Apparently Mose doesn't like to be hearing a back-beat, and sure enough Sumner kept his brushes going and shuffled us along.

Meanwhile I at least knew who the bass player was - Neil Swainson...a most highly regarded player who could play anything I'm sure, but was that a bead of sweat forming on that brow? Mose had some great tunes I'd never heard - "Certified Senior Citizen" was one of them and there were several others just as funny and insightful as his well-known material. He certainly has his own approach to the blues - something I strive for myself.

Festivals, festivals

Festival Fever: The photo above was taken at the Orangeville Blues and Jazz Festival last week-end. That's me on the left and Larry Kurtz ion the middle surrounded by the FATHEAD fellas.

I had a great time kicking off the Acoustic Stage (or should I say, the TD Canada Trust Acoustic Stage) and was followed by some old pals from the Montreal scene. Michael Jerome Browne who figures prominently on my CD and the irrepressible Alan Gerber, who, after all these years, is still a little sheepish about the time he seduced one of my back-up singers...yes, one of the original Blainettes. A YouTube clip of "The Day Coke Saved The Blues" was just uploaded by a fan . You can view it here. I missed the Saturday at Orangeville because I took in the guitar extravaganza at Metro Square with Alvin Youngblood Hart, Taj Mahal, a charming new guitarist/singer/songwriter called Fiona Boyes and a great kora player, Mamadou Diabaté. Harry Manx and Kevin Breit did a fiery duet.

Luminato reminds one of the golden days of cigarette sponsors, at least behind the scenes. After posting my last blog where I was whining that I got media accreditation for the Emmylou Harris show but not for the Neil Young Canadian Songbook extravaganza. Well Blainletter reader Dan Oleksiuk took pity on me and took me along and what a great show it was (not to mention the munchies and open bar before *and* after the show). My fave was The Cowboy Junkies, not one of my favourite groups but they really captured me, especially that mandolin man who was a one-man cinematic orchestra. Honorable mention to Emilie Claire Barlow and friends who nailed their tune... Harry Manx with the Sisters Euclid were a crowd favourite and Harry got his props from Colin Linden himself as he was being interviewed.

The Sisters have ended their 13-year run of Monday nights at the Orbit Room - Kevin felt bad for Orbit Room owner Tim Notter and gave him the band's Juno Award to remember him by. At Yorkville Park, Luminato set up a big stage to present some of the big stars of Brazilian style guitar. My son the DJ says I should learn some Brazilian guitar licks so I checked it out. Had a great chat with a living legend of the Yorkville scene, Chick Roberts. I had met him back in the sixties and he regalled me with stories about the old Riverboat. They're celebrating an anniversary (the 50th?) and apparently a plaque will be laid. I noticed there were some Riverboat related events...I should get on the bandwagon as an artist who did play that illustrious venue. I remember it well, I was opening for Fraser and DeBolt and some CBC types thought I was the next Randy Newman or something and had me come down to their offices for meetings but alas nothing came of it. Also saw the amazing one-man play about the life of Lenny Breau. They didn't miss any aspect of Lenny's life with ups and downs and right up to the tragic end. It's a big leap from the $15 million Luminato festival to the (maybe) $50 thousand Waterfront Blues Fest, mostly local artists but a beautiful setting - One thing about Jack de Keyzer, the bigger the stage, the bigger he gets. How about that organist McMorrow!!!

way out west

Flying over the rockies on a clear day was quite a 3-D experience and doing my Tai Chi in the morning air on Harry's deck on Salspring Island facing the tall pines with hummingbirds buzzing around..that's a great way to kick off my great escape to the West. Ran over a couple of tunes for the show tonight...I get the feeling half the hall will be musicians. This is a little piece of paradise...maybe it will inspire a song or two while I'm here. Just as I arrived the Monkey Junk guys were headed out on the next leg of their tour. They left me the new CD and I'm looking forward to hearing it.


Here's a good quote from the eminently quotable Bob Lefsetz: "Anybody who can survive in today's music world deserves credit. If you make some people happy, you're on your way. If you try to make everybody happy, you're doomed to failure."

Quote of the Day

"the sounds which are audible are *not* the music, but build the frame that
carries the music, or not, as the case may be". - Polish composer Witold
Szalonek

Mission Accomplished

I know I did OK when I find out that someone said "Who is that guy?" or when
there's a audible display of approval after a guitar solo. I got a bit of
both yesterday at my gig at the Sky Restaurant and Lounge in Mississauga. I
was guesting at Jerome Godboo's Sunday Matinee (I believe the Sockman said
it was the 14th edition). Great to play with Chris Burgess, one of the
city's least recognized and most capable guitarists in terms of knowing what
to play and when to play it. He proved the point when the surprise special
guest Elvis Impersonator (did I mention that??) sang Del Shannon's "Runaway"
and Chris was able to pull out the signature organ solo practically note for
note. James Rasmussen is one - solid bass player (I just discovered he plays
on an Album of Nig Dave and the Ultrasonics, one of my all-time favourite
roadhouse-style non-stop touring, tight delivery blues bands). And got to
play with drummer Bob Vezpazini for whom I have such great admiration since
I saw him doing the kind of old school drum acrobatics that I've seen only
in some of the old jazz guys like Jake Hanna and Don Vickery. Layla Zoe was
my co-guest and she really rocks the house and shakes her booty. Layla would
do great on the German circuit where I spent 3 weeks touring with Kathi
MacDonald - who is very much the same style of singer as Layla. Jerome
Godboo is one of the most evolved human beings on the blues scene today and
I've thought that for at least ten years. I never talked to him about it but
I think his natural self-contained spirituality evolved from his original
interest in martial arts. Curious.

Quote of the Day

"Im an artist. I don't want to be dealing with all that tech shit."
My son the DJ

the new paradigm for performing

I was hesitant to put the club's name, but if you ever thought a club had
things stacked a bit too much in their favour, check this out:

The following explains how a CABARET @ STATLERS operates successfully for
both artist and venue (the establishment).

You promote to your family, friends, fan club, loyal followersŠ.through
your Website, MySpace, Facebook, etcŠ.

The following information must be included in all promotional material: The
date, name of artist, name or theme of cabaret (if there is one), name of
establishment (Statlers Cabaret) address of venue, time the doors open for
dinner/cocktails, 6:30 PM, show time, 8 PM, etc.

In your promotional material, you advise all guests that attendance is by
³reservation only². In order to make CABARET DINNER RESERVATIONS, go to
Statlers website and link to the ³DINNER CABARET RESERVATIONS² button to
make their reservation for your cabaret show. Guests MUST make
reservations, no walk-ins accepted.

There must be at least 20 guests within five days (5) prior to show time or
show is automatically cancelled.

You can charge either $12.00 or $15.00 per person cover - (artist receives
80% of cover, house receives 20% for administrative expense of handling the
reservations and door). There are no complimentary reservations accepted.
If an artist wishes to provide a complimentary entrance to someone, they
must pay the door cover and then from their revenue, rebate themselves or
the party they complimented. There are no complimentary seats allotted for
artist¹s family members, camera people, lighting people etc. They too must
make reservations and pay the entrance fee, etc. (the number count of
guests must be accurate and reconcile to the door fees received ­ space is
limited and both the artist and house are required to extract as great a
revenue as possible so the entire event is worthwhile).

There is a Food & Drink Minimum of $10.00 per person. This must be
advertised on all your promotional material without fail.

You are to either create a poster or we can create one for you for a fee of
$25.00 if you provide a picture or graphic detail, etc. All the information
above will be contained in the poster and this too should be copied to all
your advertising material and mediums of promoting your cabaret. The house
will print three posters, two for the house front window and a hard copy for
the artist. The artist will also have been provided with an electronic
version of their poster so they can print additional copies at their
choosing.

NOTE: We are averaging guest lists via the VIP Reservation ³Only² system of
about 40 people per show. If the show has less than 45 guests, it is held
upstairs and if more than 45, it is moved downstairs. We have a Baby Grand,
Yamaha G20 downstairs, and a Steinway Antique upstairs, full sound system
and stage management administration to assist and support in making the
cabaret event, one of the most memorable in an artists career.

Please let me know your thoughts and compliance on the above guidelines for
Cabaret at Statlers?

We are currently booking the next three months at this time. Many seasoned
artists have reserved their gig dates.

Quote of the day

"The artist is here to give the listener the opportunity to dream, a very
profound and special gift even if he's minimally successful." John
Mellencamp

Canadian Music Week - Short Takes

I'm sitting in the same spot in the rivoli where I wrote the lyrics for "One
More Weasel" a few years back. It was a CD launch for a hot act and people
were talking so loud you couldn't hear the earnest young folksinger who was
doing an opening set. Now I realized that I was surrounded by industry types
and if the music hadn't started I was about to take out my phone then I
really would have looked exactly like the rest of them (only older).

The singer on stage is a younf lady known as "Billy The Kid" - after her set
I tell her that the recurring theme at the music conference sessions was
that "music is about emotion" and she certainly had that covered. She
actually broke up a little in the middle of a song about a drug-addicted
friend (my bet is that she probably died). You could hear a pin-drop in the
Rivoli, quite "au contraire" from the night I wrote those lyrics.

Before the Riv, I went to the Gibson Guitar showroom, mostly to see what the
venue was like...I wasn't sure what the music was going to be but I soon
realized that we were seeing what's left of the "star-maker machinery" in
action. Even with that clout, they weren't able to get as many people out as
the band themselves did with their Facebook invite. That audience was all
pre-pubescent screaming girls and the band was a very accurate clone of the
Jonas Brothers. They were called The Latency

After poking in and out of a few places I determined that I would find
something worthy and sit it out for thge whole set. I found myself in the
tiny upstairs room of the Reverb/Kathedral...formerly BigBop. Three floors
of music...I like that. In Holy Joe's upstairs I found a band playing to
two or three people so I took a spot. They had two drummers and every once
in a while one of them would grab a Kaoscillator, Joels favourite new toy,
and create some synth sounds. I watched the whole set and ended up chatting
with the leader who told me they were from Brazil. They were called Cassim
and Barbéria.

I heard a lot of bands but they all morphed into a big blur. There are now
so many bands that sound the same that it;s well-nigh impossible for the
cream to rise to the top. It's ironic that the biggest news at Canadian
Music Week was the debate/pissing match between Gene Simmons and music
industry commentator Bob Lefsetz rather than any new artist.

Terry McBride said in his speech that 3 years ago he had made several
predictions that did not endear him to the audience of record executives but
that 90 or 95% of those predictions were now true. This session he was
saying don't worry about downloading - it will soon be a moot point. We will
all have smart phones that "pull" music out of the clouds whenever we want.
An d these smartphones will even flag tunes that we might enjoy (based on
our past selections). Smart phones are only 5% of the market right now but
that will soon change. Dig this: Third party applications for the iPhone
have garnered sales of One Billion dollars already and they have only been
available for a year. The fellow I was sitting with was using his phone for
a light to read the program, then he said there was an application that
would make the screen all white and as bright as possible and a few clicks
later he had downloaded the app and installed it on his iPhone.

He claims the iPod will soon be extinct by smart phones that can do all that
and more.

What are? Shazam, Tunecore, Rapidshare, slacker raduio, audiolife, Spotify,
Saynow.com and finally Twitter, which I had demonstrated at that table at
the Rivoli. If I had any steam I might try to rwesiter now but I think I'll
go to bed instead. We shall twitter away but not today!