Category Archives: Music

TORONTO-BASED VINCENT WOLFE SET TO PERFORM AT NEW LIVE MUSIC VENUE IN TORONTO

I’d like to introduce you to my friend, Toronto-based jazz crooner Vincent Wolfe who captivates audiences with his velvety voice described by The Manhattan Transfer’s Laurel Massé as “somewhere between Chet Baker and Mel Tormé.” A beloved presence on the Canadian jazz scene, Vincent has performed at top clubs and festivals across Canada, the U.S., and Europe, collaborating with some of the finest musicians in the industry. His global performances include appearances aboard the prestigious Cunard Cruise Line, and he continues to shine as the lead vocalist of the renowned George Lake Big Band. This summer, he reunites with his original trio for a series of highly anticipated festival and club dates, celebrating their thirtieth anniversary.

In a couple of weeks, you’ll have the opportunity of seeing/hearing Vincent in a beautiful new venue in Toronto so I asked him to tell us about the gig, the venue and how his life and career have been going…..

So Vincent, your summer has started off with some great gigs and you have one coming up Saturday July 26 at a new live music venue in Toronto’s Junction neighbourhood called the NeuLokal. Tell us about the club and what songs you have planned for the night.   I’m so pleased to be included in the “Jazz in The Junction” series (thank you Ori Dagan!) and I think it’s the closest venue I’ve ever performed at. I can walk there, as it’s literally 10 minutes from my place. It’s a lovely, hip, open concept restaurant, with a great vibe and amazing food. They’re taking this live music thing really seriously, with a stage and PA and all of that. I remember when we moved to the Junction in 2021, it was just post-pandemic and hardly anything was open. It felt desolate but now it’s a vibrant, very happening area again… I love it here. Live music seems to be making a comeback again and it couldn’t be better timing for me to do a jazz “comeback.” I love the NeuLokal’s slogan, “Experience the taste of community, one dish at a time.”  It’s important that folks buy their tickets at Eventbrite in advance with the following link, which also gets them a table reservation. Remember it’s a dinner show from 5:30 until 7:30 so it’s best to arrive by 5pm.It HAS been a busy summer so far, thankfully. When I was asked to perform at the Grange Winery (in PEC) and the Cobourg Waterfront Festival last month, I’d been thinking about reuniting my original trio and diving back into intimate jazz performances, since it’s been 30 years!!! I started when I was seven… HA! I’ve been mostly singing with big bands for the last decade and I missed the freedom of being in a trio setting. So, announcing this “30th Anniversary Summer Tour” has really given us some momentum, and for that I’m grateful.

We’re going to do tunes from my four albums and add some other faves. I love throwing in something from James Taylor or Stevie Wonder or even Bonnie Raitt. I love taking pop or folk tunes and re-imagining them in a jazz setting. I did this on my very first album and confused the record execs, who called me “eclectic.” As one A&R manager told me a couple of years later… “You did a Norah Jones thing four years before she did it.”   Timing, huh?You sing jazz, cabaret style and big band classics – do you have a favourite artist’s song catalogue?  There are so many varied artists and songbooks I admire. Steve Lawrence (below), Jack Jones, Sammy Davis Jr. among them. Of course there are the obvious standards people ask for, but I love to mix it up with material that’s not as familiar… to keep the audience guessing. Also Fred Astaire, Peggy Lee, The Manhattan Transfer, Sarah Vaughan, Kay Starr, Joe Williams and Dionne Warwick… really different stuff influences me. Often, big band, cabaret, and jazz tunes are the same songs but with different approaches. I love the challenge as a singer to cover these styles, but you can’t beat being in a trio setting.Who or what first inspired you to sing?  My Mom told me I used to get on a stool and watch the record player intently when I was very young. I remember being fascinated with the Capitol Records label, spinning round and round. I also used to put my ear against the speaker and imitate instruments. Strange kid huh? There was always singing around the house and I always loved vintage Hollywood musicals, so the singing thing had been brewing for a long while.Who are your bandmates, what do they play? My original trio is yours truly on vocals, Anthony Donato on keys, and Paco Luviano on bass. For this gig we have Paco on bass and Peter Hill (who I really dig) on piano. Peter and I have also worked extensively together in the past, so it will be an amazing night of jazz energy. Anthony couldn’t make this one and I hated to keep switching dates so I got Peter and how lucky am I?

Will you have your albums available for sale on the night?  Yes indeed. I still have two CDs that are available: “Until Tomorrow” with several of my original tunes and an all-star band and the more recent “Weaver of Dreams” which is a real mixed bag of styles, all within the jazz framework. I wrote a couple of the tracks and even got to sing “Vivo Sonhando” in Portuguese.How can fans follow you on social media?
They can reach me on Facebook at www.facebook.com/vincentsings/
Instagram at www.instagram.com/wolfejazz70/
YouTube at www.youtube.com/@vincentwolfejazz
and of course there’s my BRAND NEW website:  vincentwolfe.com

Thanks, Vincent and I hope to see you on the 26th….bravo and congrats on this new show…maybe a regular gig?

Canadian Black Music Archives launches “B’Lack Then” exhibition of music icons & pioneers.

I thoroughly enjoyed my visit to the Canadian Black Music Archives launch event last Thursday for their B’Lack Then exhibition of memorabilia, instruments and costumes from Canadian music icons and pioneers. The show runs until February 2026 in the Archives of Ontario housed in York University in Toronto (details at end of story).I was thrilled when I was contacted a few months ago by curator, Shadio Hussein, to secure items from Claudja Barry who continues to enjoy a successful career first in disco music, then on to R&B as well as appearing in films, world tours and making her own documentaries. Claudja submitted a gorgeous beaded gown worn on stage and in videos, her “boogie woogie dancin’ shoes”, several magazines from the 70s and 80s with multi-page photo spreads and interviews, press clippings and all manner of mementoes from her exciting career. (pictured below – Shadio poses with Claudja’s beaded gown and some of Claudja’s photos and magazine articles)
Spread across eight glass showcases, the exhibit illuminates the lives of 23 artists across 10 music genres through photographs, albums, newspaper clippings, film screenings, discussions and more. Visitors are invited to explore significant albums, singles and compilations by artists such as Portia White, Salome Bey, Jackie Shane, Jackie Mittoo, Leroy Sibbles, Nana McLean, Adrian Miller, Motion, Rochester aka Juice and Gene King. Rare sheet music by the Ball Family, Shelton Brooks and Nathaniel Dett is also featured, along with original performance costumes worn by King Cosmos, Claudja Barry and Rochester aka Juice.

King Cosmos poses with his own costume & Claudja’s gown

The celebratory evening presented a number of performances by artists featured in the exhibition or their descendants (Tuku, daughter of Salome Bey / Robert Ball, a descendant of the Ball Family Jubilee Singers / Brooke Blackburn of the Blackburn Brothers & son of Bobby Dean Blackburn), speeches from VIPs and congratulations – bravo to Executive Director Phil Vassell (pictured below) and Managing Director Donna McCurvin and to the archivists and curators who worked so hard to amass a collection of artists from so many different genres. Ontario head archivist Jacqueline Spencer (pictured below Phil) spoke eloquently of her colleagues who dug deep to learn about and locate so many of the musical legends.

The exhibition will run through February 2026 to coincide with Canada’s Black History Month.
Located at 134 Ian Macdonald Blvd at York University (opposite the York U subway entrance).
Details: https://www.archives.gov.on.ca/en/events/Canada_Black_Music_Archives.aspx
Open Mon-Fri 8:30am to 5pm   FREE ADMISSION!
Follow @the.cbma on IG for up-to-date news.

RON KORB PRESENTS SPECIAL SAKURA CONCERT CELEBRATING CHERRY BLOSSOMS @ THE JAPANESE CANADIAN CULUTRAL CENTRE

Congratulations to Ron Korb and the staff & volunteers at Toronto’s Japanese Canadian Cultural Centre for presenting a wonderful concert to celebrate sakura season this past Thursday evening. Featuring taiko drummers, dancers and a children’s chorus, the show featured many songs from Ron’s latest album, Global Canvas, as well as traditional music and tunes from Ron’s previous albums.

It was a packed audience in the stunning Kobayashi Hall with several VIPs in attendance including Matsunaga Takeshi – Consul General of Japan, Senator Dr. Vivienne Poy, Bruce Kuwabara QC founding partner of KPMB, Noriko Yamamoto – Executive Director at The Japan Foundation, and numerous media celebs including Ken Stowar Program director of CIUT Radio and host of Global Rhythms, Adi Braun former Classical FM host and current host of Soulscapes, Tom Treumuth – music producer and podcaster, Sonya Davidson of The Toronto Guardian, and Dr. Ed Turgeon, Dean of Music Algoma University with his wife Dr. Anne Louise-Turgeon who make up the classical piano duo Duo Turgeon.

Starting with a charming address by the Consul General of Japan, Matsunaga Takeshi, JCCC Director James Heron then spoke about Ron and the entertainment and activities being held during the Sakura month, then Bruce Kuwabara introduced his cousin, Ron Korb.The evening started with the thundering power of Kyowa Daiko taiko drummers. Throughout the show, Ron and his band were joined by solo dance artist Atsuko Abeta, and the dance groups Sakura Kai and Ayame Kai, as well as koto and shamisen player Aiko Fujii all of whom were adorned in beautiful kimonos and were featured in several songs to wonderful affect. There was also a traditional geisha song (last video)

So many colourful dancers and haunting tunes….(photos courtesy of Susan Howling)After the concert, Ron met up with fans to autograph his latest album and pose for pics with friends… Above, Ron with podcaster and music producer Tom Treumuth, and below Lydia Washchuk and Ken Stower pose with Ron’s poster prior to the concert.You can follow Ron on social media linked via his website: www.ronkorb.com

Pick-up your CD copy of Ron’s latest album, Global Canvas, on his website or stream via your favourite streaming platform

CELTIC ROCKERS “TARTAN TERRORS” BRING OUT THE BRAVEHEART IN US ALL!

I’d like to introduce you to the TARTAN TERRORS – a fierce warrior-like band of musicians who perform Celtic rock music with a little step-dancing  thrown in. Think…Riverdance meets Braveheart, with bagpipes and a punk attitude! The band members are all multitalented musicians and their fiddle player is an award-winning step-dancer, too. Tartan Terror shows are full of humour and energy with audiences up on their feet throughout most of the show; dancing and hollering are encouraged!With a distinctive sound and a proud tradition of making Celtic music fun and accessible to any audience, the Tartan Terrors bring their Celtic Invasion to concerts, festivals and fairs across North America, blending the energy of a rock show with humour and stepdance. They’ve played highland games, renaissance fairs, battle re-enactments (we have to invite Mel Gibson to come out and do his “you’ll never take our freedom” speech!) and in large soft-seater concert halls. They’re perfectly suited for Steampunk fairs, too. They present exciting original music as well as traditional Celtic songs but with a definite edge. So get your kilts on and shine up your knees as Tartan Terrors are about to invade your town in 2025, starting with their Robbie Burns tour of Ontario that kicks off in Brantford on Friday January 10th (tour details at end of this post).

I recently spoke with band spokesman, CHRIS KERBA (bodhran, acoustic guitar & vocals) pictured below, and he shared his thoughts and band history….Who created the Tartan Terrors and what was the inspiration?  The Tartan Terrors started 29 years ago by siblings, Ellen & Ian Irmisch They had been dancers their whole lives as their mother ran a dance school. They started a show at the Ontario Renaissance Festival in Oakville ON. Their father had dubbed them the “wee tartan terrors” and the name stuck. Over the years, they added more musicians and as the band grew it became a variety show including skits, dancing and music. As members came and left the group, the shift from a variety show to a music-oriented group evolved. Now, we’re a Celtic rock band that incorporates traditional Ottawa Valley Step Dancing in our shows. Pictured below, band co-founder Ian Irmisch (Bodhran & Emcee)What were the band’s first gigs and how well were you received by audiences? Did they expect such rousing performances?  The first time I saw the Tartan Terrors was in 2005 at a Ren Faire in Hamilton ON. At this point, it was still the variety type show. Every single performance they had was packed. People were laughing, dancing, and singing along. If you had told me then that in 2 years, I’d be putting on a kilt and performing with them, I’d probably have laughed at you. They were bigger than life!

By including a fiddle-playing step dancer (Emily) the band offers a whole different dimension – how important is that extra vibe to the show?  I remember the first time I met Emily; she was a sub fiddle player for the group as we were looking to fill the role with our former fiddle player taking a step back. I picked her up at her place in Oshawa and we began our drive to Maine. Unfortunately, there was a massive accident on the 401 into Quebec and we were diverted through Cornwall and through NY state. At a time when GPS systems didn’t handle well with rerouting, Emily and I easily added 5 hours onto our drive. That was the start of, I feel like, has become a great friendship. She was really quiet at first and I couldn’t help but think “What’s this shy young lady going to add to our show?”. I was in for a spectacular surprise. We performed our show and Emily, at that point, had only played fiddle for the group. I remember being absolutely blown away by her abilities on fiddle. Not only had she learned all of our material, but she performed it and kept chasing excellence between shows. I texted Ellen on the trip and told her, in no uncertain terms, that we HAD to keep Emily. We had a string of Christmas shows coming up and that I’d take half of my pay if it meant we could offer Emily enough to join those shows. Luckily, Ellen had already had the same thoughts.As the shows progressed, Emily and Ellen choreographed a routine for our final number of the night that combined Ellen’s traditional highland dance/Irish hard shoe dancing with Emily’s Ottawa Valley Step Dancing…the audience LOVED it. We had a video that had hundreds of thousands of views around the world. It was awesome.

Sadly, 8 years ago, Ellen was diagnosed with cancer. While she kept touring with the band and performing as much as she could, unfortunately, she wasn’t able to dance the number of songs she wanted to. Emily stepped up HUGE. She would take over some of the dancing duties from Ellen and choreographed new routines for our songs. As Ellen’s health deteriorated, more and more Emily filled those shoes (yes, pun absolutely intended). Unfortunately, Ellen passed away 6 years ago (in August). Emily and her abilities on fiddle and dancing have become a staple in our shows and her abilities are unparalleled.

Each band member has extensive music education and cross-genre experience; in an age when most “musicians” have never put their hands on an instrument (thanks to computer generated music) how important is that familiarity with each instrument?  I don’t want to throw shade at musicians who don’t “create” their own music. Technology has evolved and, as professionals, we have to evolve as well. They have a different skillset that I’ll never know or understand. For me, personally, I’ll always prefer to have an instrument in my hands. I’m fairly certain that the same applies for everyone who puts on a kilt for the Terrors.(Pictured below- Peter McArthur on bagpipes, Charlie McKittrick on drums, Jake Saenz on bass & Phill Hood on electric & acoustic guitar & vocals)


I have to preface this properly because I’m not saying I’m not good at what I do. I pride myself on being a solid rhythm guitar player and a pretty decent bodhran player. But when I look around the stage, it’s not lost on me that I’m the least talented/educated, musically, on stage. Watching everyone else play their instruments, what looks like, effortlessly will constantly be mind blowing to me. The part that really blows my mind is knowing that every person on stage is a multi-instrumentalist, and not just “oh they dabble” no, they can PLAY more than one instrument. It’s wild. Now, while they make it look easy, I know that there are decades, yes decades, of practice, blood, sweat, and tears into honing their craft.The band has played across Canada and the US – do you aspire to hit the glens of Scotland and Ireland, too?  Short answer? Have band, will travel! We love playing. Give us a stage and we’ll perform. We would love to cross the pond and play in Scotland, Ireland, the UK, Australia, New Zealand…anywhere and everywhere.

You have a number of shows booked in Ontario over the next couple of months, then down into the States starting in the early spring. What can audiences expect from the Tartan Terrors in 2025? New music? New merchandise? More dancing?  We’ve been reworking some of our older material that we stopped playing for a few years and we’ve been writing our butts off. The creative wheels are always turning and we’re constantly workshopping new ideas. For our January show, we’re bringing back an old pipe tune and we’re premiering 2 brand new songs. We’ve got new posters, pictures, Christmas ornaments, shirts, colouring books…all kinds of new things at the merch table!

Can fans listen to the Tartan Terrors on streaming services or do you prefer offering your music on vinyl or CD, and how can fans purchase the tunes?  We’re all over your favourite streaming platforms. We’re working on getting our older catalogue uploaded there as well. Ian says it the best on stage “You can download us 5,000 times and we make $0.0043”. I wish it wasn’t the reality of the situation, but as any musician now will attest to, it’s the reality. Our money is generated when people buy tickets to shows and then buy merchandise. Think of it as a way of supporting the band and getting a cool souvenir out of the deal. We still have CD’s but are going to be releasing a vinyl album featuring some of our favourite Terrors tracks along with some live versions of the songs. I’m not sure if that’s to be public knowledge or not, but here we are. As it’s our first vinyl release, we’re going to be printing a limited number of records…so keep an eye out for that and don’t wait. The best place to buy is at our shows, but we do have an online store on our website that we’ll mail you merch too.
………………………………………………………………………….
You can follow Tartan Terrors on social media: @tartanterrors and all band news, merchandise, shows and tickets available on their website: https://tartanterrors.com/ 

RON KORB RECEIVES 2 GRAMMY NOMINATIONS FOR COLLABORATIONS W/ FELLOW WORLD-RENOWNED ARTISTS!

It looks like it’s red carpet time again for Canada’s leading flutist/composer! I’m so proud of my friend and client RON KORB who scored 2 more Grammy nods for albums recorded with India’s superstar composer and musician, RICKY KEJ, and for his collaborative work with Japan’s composer, producer and instrumentalist, MASA TAKUMI.
Several years ago, Ron’s album Asia Beauty was nominated for Grammy’s Best World/New Age Music album and I was thrilled to secure red carpet fashions for Ron’s beautiful wife, Jade (pictured above in Canadian designer Lucian Matis gown) then 2 years ago, the fab couple again found themselves in Los Angeles, rubbing shoulders with the world’s greatest musicians and Ron hit the stage to accept his two collaborative honours (below, with Masa Takumi) and later with Ricky Kej & Stewart Copeland for the winning Divine Tides Global music album. I spoke with Ron after all the nominations had been announced last Thursday and he kindly answered a few interview questions …..

Congratulations, Ron, on this year’s Grammy nominations for your outstanding collaborations with Indian superstar Ricky Kej, and on Masa Takumi’s album. You’ve previously won with both of these artists – you must be their lucky penny! How did these collaborations come about?  Ha ha…I think I am a lucky charm. Certainly we are all grateful for the good fortune we just received. Ricky called me and said he was putting together one of the inaugural albums for a new label called Vedam Records which is part of Universal Music Group, and Masa asked me to play on Kashira which was part of a score for Himuro Renji a Japanese Yakuza Film released this year. Linked below are the 2 nominated tracks on which Ron played….

During those 2 years of Covid isolation, you worked remotely with international musicians via internet accessibility – is this the way now that artists in far flung corners of the world get to work with each other? And how does that all work from a production perspective?  Even before the pandemic many producers and musicians were working remotely but during COVID there was no other way and that changed things forever. It is, in many ways, much easier to work remotely but I do miss the real life interaction you used to get from working with clients and other session players in those big studios back in the old days. That said, all the bed tracks of Global Canvas were done live off the floor and in person and I was with the players for most of then over-dubs too.

Your latest (30th) album, Global Canvas, was short listed for a Grammy nod this year and although it just missed the final cut, your work with Ricky and Masa will enable you to walk the red carpet in February alongside your fellow musicians. Do you see this as a great opportunity to connect with other composers and performers? Do you enjoy the “schmoozing” at the Awards ceremony and all the parties?  It is really wonderful attending the Grammy parties in Los Angeles that start the week before the actual broadcast. One of the best events is the nominees’ dinner which is the night before the ceremony. It’s an amazing party where you meet so many incredible musicians and producers. Everyone is so happy that night and that is when they give you your medallion and take an official photo.  Canada does a good job, too – the SOCAN and the Canadian Consulate parties are also particularly nice. (pictured below- at previous Grammy Awards with Ricky Kej (L), Jade, Ron, Paul Avergrinos, film composer Bear McCreay + his wife)

(above – at Socan soiree prior to Awards night)

Global Canvas is already garnering critical and audience acclaim around the world – do you anticipate receiving international honours as did your previous albums ?  I hope it can, I know this will sound insincere, but what I actually enjoy the most is getting feedback from fans and learning that people are really enjoying the music.

When writing and recording Global Canvas, you met Cambodian human rights activist Arn Chorn Pond through a personal introduction from legendary musician, Peter Gabriel. You dedicated your Angkor Wat track to him – has this connection made you even more aware of the affect of music on the world?  I think Peter Gabriel is very interested in the spiritual power of music. The Angkor Wat song does touch on that feeling. When we toured the ruins, we were amazed by the ancient architecture and I hope some of that feeling of that awe is felt within the song.You’ve performed live in some of the world’s greatest concert venues, in front of royalty and world leaders, and solo’d with great symphony orchestras in China, Japan, and all across Europe as well as home here in Canada. How does it feel to perform for such diverse audiences?  That is one of the blessings about being a musician – you can travel to a different part of the world and interact with people and even a crowd of people in direct way. Music is a very intimate form of communication. With my own music I’ve learned certain songs work better in Asia and others work better in the western world.

How can music lovers hear your new album and other music you’ve created?  Physical CDs and Mp3s copies can be ordered through my own website www.ronkorb.com and the music can also be heard on Spotify and all the streaming services.

Congratulations, Ron…fingers crossed it’s gonna be another double Grammy night for you, Masa and Ricky!
Follow Ron’s Grammy journey on his social media and of course, I’ll be posting photos of all the Awards’ week festivities with Ron & Jade.

 

 

LEGENDARY MUSICIAN “NASH THE SLASH” IS SUBJECT OF NEW DOCUMENTARY….now nearing completion

When I first arrived in Toronto in the mid-70s (from Australia, via UK), I was obsessed with disco and all the popular dances – I quickly became one of Toronto’s “disco dollies” who danced at all the popular clubs, getting the crowd hot and thirsty, and becoming known as a draw for the crowds. The high point of my club career was dancing on stage with Barry White & The Love Unlimited Orchestra when they passed through Toronto. Loved the man, loved the voice, loved the kaftans! But disco was already on the outs and I was looking to embrace something new and by accident I discovered the underground world of alternative, punk, electronic and, well, let’s just say the bizarre world of Nash the Slash. I guess I was drawn to his theatrics as well as his musical skills. A one-man band who could rock out with his violin & mandolin and pull in jaded punters who were looking for something new, something independent, something extraordinary.You may have heard of Nash the Slash but if you haven’t, Nash was a unique musician who bound his face in bandages to perpetuate the mystery of anonymity. He straddled the worlds of punk rock, prog-rock, classical and industrial (before it had a name.) And he was considered a ground-breaker in contemporary music circles. He was an extraordinary entertainer who attracted attention from others of his ilk: debuting in 1975, Nash the Slash used then unheard of tape-loops, a drum machine run through fx pedals, a glockenspiel and an electric violin and mandolin to create a live score for the legendary 1929 Salvador Dali/Luis Bunuel surrealist film, Un Chien Andalou.

And according to Lester Bangs of Rolling Stone magazine….“Nash the Slash is the kind of opening act that makes the headliner work that much harder.”

Along with other local indie bands like Songship (fronted by Mary Margaret O’Hara & Peter Mifsud), I would follow Nash wherever he played, marveling at his deft violin playing, as well as his distinctive compositions. I was working at a concert event at The Diamond Club (now The Phoenix), when I got to hang out with him backstage after a rousing performance – poor guy was drenched in sweat so with a promise from me not to tell anyone what he looked like, he started peeling off the layers while I held out a plastic shopping bag to collect the sodden bandages. I will keep my promise.When I learnt about the documentary being made about him and the need for funding, I offered my publicity services to Colin Brunton, Exec. Producer of Nash the Slash Rises Again!  I recently chatted with Colin (pictured below) and asked him to share his memories of Nash and tell us about the Go Fund Me program so I could reach out to his fans through my blog and social media networks….Colin, what first inspired you to make a film about Toronto’s mysterious musician, and entertainer? And when did Side Three Media take the lead?  Nash was a good friend of mine, and I’d always wanted to make a film about him, but the idea really took root when he passed away in 2014.  I had an idea of how to approach it, but schedules didn’t work out, and Side Three got the rights a couple of years later.  I teamed up with them a year or so after that.

You had a great relationship with Nash that started in the 70s – how did that come about?  I met Nash in 1973, when I was a teenager working at Gary Topp’s Original 99 Cent Roxy Theatre in the east-end of Toronto. The Roxy was a vital gathering place for the counterculture, turning people on to not just an eclectic programme of films, but also cutting-edge music between shows, and it had a reputation as a place where you could openly smoke weed. It was wild.  Nash was a regular there and lived in an apartment behind the projection booth, a living Phantom of the Opera.  We became friends. As our careers progressed, I’d hire him to do film soundtracks, and we kept in touch until the end. I wasn’t allowed to phone him before noon. Toronto had an amazing underground/alternative music scene back in the mid-70s and into the 80s – how did Nash (and you) navigate those waters? How did Nash become such a cult figure?  The mid-seventies in Toronto was a defining period of culture in this city:  pre-packaged hippie culture was on the outs, and the world was begging for something new. It was an exciting time.
Nash was a wildly creative musician with an artistic integrity not often seen anymore. He also had a flair for promotion and was able to keep his true identity a secret for decades.  His shows were mind-blowing: a one-person electronic orchestra on stage surrounded by banks of equipment and tape-machines, custom FX boards, an electric violin and electric mandolin; film images projected onto a screen; jigsawing violins to death and breathing fire.  Totally entertaining. What most fascinated a group of twenty-year-olds we had a test-screening for was his ability to do all of this without computers; he was one hundred per cent analog. He was a very clever guy. Genius. Did Nash produce music videos and if so, did MuchMusic support him by frequently showing them across the country back when MM was a real music tv network?  Nash was just too weird for the mainstream, so he did everything himself: promotion, management, marketing, everything. He was the first musician in Canada to create his own record label; the first to use tape-loops; the first to run drum machines though FX pedals. He never received grants to make videos, and record companies weren’t interested. Nash had a few videos that got played, but without a major label behind him, he never made it into heavy rotation on MuchMusic. But he gave great interviews and was a favourite amongst City TV’s “The New Music” which he was on a lot in the 80’s.

This film should fill in some gaps in Canadian music history – with the recent success of documentaries on MuchMusic itself, Doug & the Slugs and now The Tragically Hip, it seems the country is finally ready to celebrate unique Canadian recording artists. How do you think Nash would feel about being celebrated in this manner?  I’ll tap my foot to Doug & The Slugs, and I like Gord Downie, but Nash was more creative, original and daring. Canada is famous for ignoring their own and no one has been more grievously ignored than Nash the Slash.  Once this film gets out into the world, I’m sure he’d say, “It’s about fucking time!After several Gov’t & private funding rounds, the production still needs another $40K for completion, hopefully the bulk of which would come from both the Canada Council and the Toronto Arts Council. But most likely you’ll need $s from fans of Nash and the public, hence the crowd-funding campaign. Any message you’d like to send out to fans of Nash and the Canadian music industry as a whole?  We’re hoping the arts councils come through, but we’re not banking on it.  We need support at the grass-roots level:  people donating, no matter how small. They get their name in the credits, a shout-out on social media, and bit of a dopamine rush.  And they’ll be able to say that it couldn’t have happened without them; it’s a chance to have their name attached to something very cool and kind of underground.  Toronto’s going to be a lot more interesting with Nash the Slash back in it.

So good luck to the filmmakers: Colin Brunton, Kevan Byrne, Leanne Davies and Tim Kowalski.  This is a film that needs to be made and shown – they are currently only $40K short of their goals. If you’re a music fan, esp. lovers of indie artists and Canadian music history, visit the GoFundMe page and even if it’s $20, please donate to:  https://www.gofundme.com/f/nashtheslashrisesagain

Follow the producers on these social media platforms:
www.facebook.com/NashTheSlashDoc 
www.instagram.com/nashtheslashdoc
www.x.com/nashtheslashdoc
www.tiktok.com/@nashtheslash24

INTERNATIONALLY RENOWNED FLUTIST/COMPOSER RON KORB LAUNCHES LATEST ALBUM WITH STANDING ROOM ONLY CONCERT

Last Friday night, fans, family and friends gathered at Toronto’s 3030 Dundas West music venue and cheered, stomped, danced and even conga’d as RON KORB introduced his latest album, World Canvas, to a capacity crowd. The album’s 18 tracks incorporate Latin, Asian, Middle Eastern and European themes recorded by Ron and his band of award-winning musicians contributing their skills on a diverse range of instruments from multiple cultural heritages. It truly was a canvas of world music that took listeners on a journey of sound discovery.After the show, I asked Ron to share his impressions of the night and he graciously offered the following…

Ron, congratulations on a wonderful night of music and entertainment. We all loved the show out in the audience…how was it for you up on stage?  Because there was a lot of new material in the show it’s always that mixture of excitement and concern about how it will come off and how the audience will react. But from the moment I walked out and played the first note it just felt great.

The players from the Samba Squad added some serious Brazilian vibes – you incorporated so many diverse music elements, how difficult is it to find players who are expert on the various cultural instruments?  We are very lucky in Toronto because it is a place where so many cultures live and thrive. Although I had some difficulty finding Korean musicians in Canada this time, I have known master percussionist Rick Shadrach Lazar and his group Samba Squad for decades so it was fairly easy and fun to incorporate the Brazilian vibe and to get them to play the show live. (below – Xiaoqiu Lin on the erhu)You had so many other musicians in the audience with whom you’ve played and recorded – that was very respectful (and exciting for us in the audience) to see so many award-winning and world-renowned players coming out to support your new album. So who were they?  That was a wonderful night with so many people in the business in attendance. Off the top of my head, there was veteran guitarist Bill Bridges who toured with Lena Horne, Peggy Lee, Eartha Kitt, Vic Damone, John McDermott & Bowfire, and a kinder gentleman you will not find. Sharlene Wallace a fabulous Classical & Celtic harpist, Johannes Linstead an incredibly popular award-winning guitarist, bass player George Koller from the original The Shuffle Demons who has worked with Holly Cole, Herb Ellis, Art Farmer. Saxophonist John Panchyshyn, flutist Jamie Thompson and jazz singer Tanya Wills. I’d also like to shout out to radio vet Brian Master from Chum FM and photographer Yosh Inouye who shot several iconic album covers for Max Webster, Ian Thomas and the covers of 2112, Hemispheres and A Farewell to Kings from the Canadian power trio Rush, and Siobhan Grennan former producer at MuchMusic currently working at Zoomer Media and 96.3 The New Classical.

The show ended with 2 encores and a massive conga line dancing around the club – did you think you’d see that?  My original idea of having the CD release in a club was that I wanted it to be really fun. I was motioning to the audience to get up and clap along but when it exploded into to this huge conga line and it really made me laugh. From the corner of my eye I saw the chef and wait staff dancing, too. It so beautiful to see people having such a great time.

And further congratulations for your just-announced inclusion of Global Canvas on the Grammy World Music nomination ballot. When will you hear whether the album made it on the full voting ballot?  Global Canvas is on the ballot and voting closes October 15th. We will see who gets nominated for the World Music Grammy on Friday, Nov 10. I would really like to thank my core band of Ray Hickey Jr, Bill Evans, Steve Lucas and Larry Crowe for all their support and dedication in the studio and onstage throughout the decades.

Thanks, Ron, and good luck with this year’s Grammy selection.

I’d like to give my own shout-out to Ron’s wife, Jade (below), who not only manned the ticket and merch. table on the night, but also designs Ron’s album covers and a multitude of other support duties. She always looks so glamorous and is a welcoming presence at his concerts.As the night wound down and after 2 encores, Ron happily joined in with a meet-n-greet, posing for selfies and signing copies of the CD… I managed to snap a couple of celebrity pics of two of my favourite music people congratulating Ron: international guitar guru Johannes Linstead and popular singer Tanya Wills… Based on audience response, Global Canvas is destined to become another hit album for Ron – there was no doubt as each new track played was met with glorious applause and foot stomping! You can stream the album via Spotify, iTunes or your favourite platform, and several videos have been uploaded to YouTube. CDs are available from Ron’s website:  www.ronkorb.com and I encourage you to follow Ron on social media (linked from his website).

So thumbs up to Ron and his amazing group of musicians who rocked the stage at 3030 Dundas…and I’ll leave the final word to Ron’s #1 fan, Susan,  who apparently approves of Global Canvas!!

BLUES LEGEND STEVIE RAY VAUGHAN LIVES ON THANKS TO ACCOMPLISHED MUSICIAN DAVE RYAN AND HIS MUSICIANS

A tribute band is a music group who specifically plays the music of a well-known music act, evoking a sound, look, time, place of a past (or, in some cases, current) popular artist whose loyal fans want to recapture the spirit of the original.  Sadly, many music purists think that being a tribute band is equivalent to being a cover band – skilled musicians who play other artists’ hits you hire for a wedding or filling out the weekly performance bills at clubs and bars. But it takes a considerable talent to actually inhabit the style, the musical interpretation and the stage delivery of a respected artist who is no longer with us.

Yes, a true tribute band is something very special: they play lick-by-lick, capturing the unique sound of the original artist. The vocals, the staging, the wardrobe, even the instruments played are the same or as close to original as possible.  The supremely gifted DAVE RYAN,  Founder and lead vocalist/guitarist for The SRV Experience and, more recently, The ZZ Top Experience, goes even further; he has sync’d his band’s live performances with videos of their inspirations – Stevie Ray Vaughan & Double Trouble and ZZ Top – which are played on giant screens behind the band on stage. To watch such an accomplished artist as Dave and his musicians is to be back on the road with Stevie or the ZZ’s – his presentations are a fully immersive audio/visual experience that amaze dedicated fans as well as engaging audiences new to the now-legendary artists. Stevie Ray Vaughan was killed in a plane crash over 30 years ago, but just listen….Dave will transport you back in time to one of Stevie’s exciting concerts (he even sports Stevie’s blue peacock tattoo on his chest!).  I asked Dave to share his thoughts on performing in front of die-hard SRV and ZZ Top fans and here is what he told me….Dave, when did you first pick up a guitar and/or any other instruments?  Apparently, I started playing the drums at age 2. I switched to guitar at age 13 and fell in love with it, averaging 4 hours of practice a day some days.

Prior to launching your own SRV Experience, did you play with any other bands?  I played in some other bands but nothing as focused or as enjoyable.

What first drew you to Steve Ray Vaughan’s music? And when did you realize your amazing resemblance to the guitar legend?  I always knew about Stevie; I first saw him on the MTV videos but it was watching his El Mocambo performance in Toronto in 1983 that gave me the “deer in the headlights” reaction. I started learning one of his songs then another and another and suddenly I had 7 songs. I decided at that point to start up a tribute show…having to learn another 30 songs, of course.  I give a taste of what it would have been like to see an SRV show. I realized several years ago that I was able to deliver a very high-level respectable facsimile of Stevie Ray.

You must have put in thousands of hours of rehearsing and learning his playing style, vocals, stage presence – how did your early audiences respond to what you presented on stage?  Yes, I’ve averaged a thousand hours per year over 16-17 years. Early on audiences were very receptive. As the project grew and became more polished, we started getting standing ovations and booked many theatre shows. We always got a very appreciative and receptive audience.

“This is music of the highest order, playing and paying proper tribute to these Texas Blues/Rock legends.  Not to be missed”…Q 107 Radio, Toronto

Vaughan’s influence has inspired hundreds of artists since his untimely death, and his legacy lives through you with the SRV Experience – do you feel the responsibility and weight of perpetuating his legend?  I don’t feel a responsibility but It feels really good to know that I’m helping to keep and build his legacy, keeping his music fresh in people’s minds.You’re a brilliant artist in your own right, do you ever feel like stepping out from behind the “tribute” brand to pursue your own original music?  I’ve written many songs and would like to revisit that one day and finish the many songs that I’ve started. Possibly become my own recording artist.

More recently, you created another performance entity, that of legendary southern rockers ZZ Top. Combining the two bands on one bill satisfies both blues and rock audiences – how are people responding to the ZZ’s?  People are very receptive of the dual show as well as ZZ Top on its own. We go all out and model our show on the 1979-1980 Rockpalast era (an annual televised German concert) of ZZ when they were in their musical prime. We have the authentic look, beards and all, and are delivering note for note performances of their greatest hits. At a recent show at the Aeolian in London, Ontario, we were honoured with standing ovations for each band. “Musically and visually the real deal…a must-see performance!” Q107’s John Garbutt

2024 looks like it may be a busy year for you – can we expect to see SRV/ZZ perform at any of the big music festivals now that Covid seems to be in our rear-view mirrors and crowds are coming back to the big gigs?   We’ve played many blues / rock / RibFest shows in the past and we’re looking forwards to playing more this year! We’re hoping to be booked into the Orangeville Blues/Jazz this summer and working on many more.  With Covid fading, audiences are starting to come back to live shows and we’re hoping that venues will keep filling up more and more as this year progresses.Thanks, Dave, I can’t wait to join your next audience!  Look for The SRV & ZZ Top Experience performing in your area over the summer and early fall, and music festivals are confirming their appearances as I type!

Follow Dave on Instagram: @the_srv_experience  or visit the SRV Experience website: http://www.srvexperience.com/

New book covers history of the Rickenbacker guitar from the roaring 20s thru the 21st century.

RICKENBACKER: Guitar Pioneers of the Electric Guitar
By Martin Kelly and Paul Kelly
Published by Firefly Books, October 2023
336 Pages – Hardcover
Price: $59.95
ISBN: 9780228104476

When I learnt about this new book on the history of Rickenbacker guitars, I jumped at the chance to review it; back in the 90s I dated a talented rock guitarist who had a stunning 12-string “Ricky” that I would polish after each gig (so I could brag “I’m with the band”…LOL). It was the Roger McGuinn version with a sunburst design on the front – it was gorgeous to look at and to listen to. I knew that Rickenbacker was a prestigious company and some of the best musicians played them, along with their Gibsons, Fenders and Gretsches.As the promo page from publisher Firefly states “electric guitars are not simply musical instruments. At their best, they are iconic works of art, a marriage of form and function that has come to symbolize the very essence of 20th century pop culture.”  Most fans and players recognize Fender and Gibson as brand leaders in the music industry, but Rickenbacker, a small family-run business with roots stretching back to the very invention of the electric guitar, remains one of the most important makers for nearly 100 years of the company’s history from its founding in 1931 to the present day. George Harrison favoured his Rickenbacker throughout the Beatles era then through his post-Beatles career.Iconic artists such as Roger McGuinn, Jimi Hendrix, Geddy Lee, Randy Bachman, Susanna Hoffs, Tom Petty, Paul McCartney, Paul Weller….the list goes on but the history of the Rickenbacker company itself is even more impressive. The story begins in Los Angeles during the roaring twenties when two young men, George Beauchamp and Adolph Rickenbacher (yes, that’s the original spelling), met and ended up revolutionizing music by electrifying it and changing how we heard the sound for ever. Back then, guitars were part of bands and orchestras but the sound they made acoustically was muffled and hard to hear over the brass and percussion sections. George and Adolph went through many amplification ideas and experiments such as attaching sound horns or inserting diaphragm discs into the body of the guitar before they decided upon electrifying the instrument to offer greatly increased volume and a “crispness” to the playing that cut through other instruments.

This book is an encyclopedic history to educate and entertain both guitar collectors, players and enthusiasts, and those who simply love music. The rarely seen 1920s and 30s blueprints of newly invented electronic instruments are fascinating, and the vintage photos show the development of Rickenbackers over the past nine decades. Authors Paul Kelly (below) and Martin Kelly (2nd below)……have done such deep-diving in their research that this book is crammed with photos – it’s a must-have for anyone who appreciates pop, rock, blues, punk, grunge, even big band and classical sounds.

Available online from Amazon or Indigo and all fine bookstores.

CANADIAN BLUES BALLADEER DAVID DEACON RELEASES NEW ALBUM “GOOD DAY GOOD NIGHT”

I had the pleasure of attending the album release party for DAVID DEACON at Toronto’s The Rivoli last night. His new 8-track album, released Oct. 6th is titled Good Day Good Night and features original songs based on his own life experiences, having lived and survived seven decades of thrills, near tragedies and multiple career changes. Sung in his signature bluesy balladeer style, each track will ignite our own imaginations and memories, and sitting there last night I was reminded of so many of my own experiences over a lifetime of similar length and diversity. I had the pleasure of chatting briefly with David backstage (pictured above) and was able to interview him a few days prior to his concert so I’ll let him share his thoughts in his own words…..

David, congratulations on your new album. It sounds like your original songs are the culmination of an exciting and diverse lifetime and multiple careers. What inspired you to create this 8-track album Good Day Good Night ?  This album has been driven by a combination of new thoughts I wanted to explore and a change of style in the music itself. I have been moving towards more lyrical songs as opposed to the poetic lyrics and bluesy sounds that tended to drive earlier work. Now I have a greater focus on melody and groove, and I have been enjoying the simplicity of work that lets the hook carry more of the momentum in the whole piece. I think one of the most interesting parts of any creative career is the evolution of the artists viewpoint. Mine has evolved to a less complicated structure in both sound and lyric.

This and your earlier 2023 album, Four, come two decades after your previous album Strangers in the Morning…what took you so long?  It was a combination of things, but a large part was money. There came a point where I needed to focus on making a living again. The good thing is, when I started writing again, the hiatus meant there was a lot of material that seemed to come out quickly and easily. Over the last 2 years it has resulted in 13 new songs and 5 reworked ones, which I feel is about as prolific a period as I have encountered. There also now seems to be a pattern in my life where I leave painting for awhile and then come back to it or leave writing for awhile and come back to it. Maybe this is similar for a lot of people, but with two different disciplines to work in the gap is greater with me.

Many of the tracks on GDGN are based on life’s struggles, disappointments, challenges – at age 70, do you feel good/better times are ahead of you now?  I think that most of writing comes out of the struggles, the journey as some would say. When things are going brilliantly, we don’t tend to reflect on it too much, we just enjoy it. I always liked the quote from Emerson which goes “The people who stop at life’s first success are the world’s spiritual middle classes.” I think the more engaged we are in life, the more likely there will be struggles and disappointments, but all good learning comes with an element of struggle. I think my writing celebrates the struggle but doesn’t get lost in it or maudlin about it. I hope that’s true….and yes, I hope I continue not to “go gentle into that good night”.

How important are your paintings and visual arts and do they inspire your lyrics…or visa versa?  My art seems to come from much different thoughts than my lyrics, although all my visual work focuses on people and pretty much all my writing does as well. It’s just you are engaging a different set of reference points. The old saying a picture is worth a thousand words is to me not true, but a picture can precipitate an emotional or intellectual response that is very different than words. I think that is why I tend to be doing one or the other, not both at the same time.

As a big auto racing fan, I have to ask you about your earlier experiences in endurance racing and prior to that, your motorcycling career. I understand you suffered near-catastrophic injuries coming off your bike, then switched to cars….you just don’t give up! Is that how you’ve tackled all your different endeavours?  I remember the first time I raced at the 24 hours of Le Mans and going down the Mulsane straight at 220 miles an hour (approx. 360 KPH). Racing in the eighties was still very dangerous at that time, with two men being killed that weekend. There was a place called “the kink” which before they put in the chicane on the Mulsane to slow things down, was daunting. The car would skitter a little and I finally did it for a few laps flat out and it scared the hell out of me. I told Hans Stuck this (who was driving a sister car) when I got back in the pits and he said “don’t worry David, after a couple of hours, you will be used to it”. It was really funny, but it didn’t feel funny at the time. But there I was at one o’clock in the morning and going flat out through the kink with my lights only lighting up the entry point not the apex, and not really even thinking about it anymore. I think that was my most tangible moment of understanding that we just have to drive through fear. Taking on a renewed music career at this stage in my life means that I am still trying to drive through fear.What do you hope your fans/listeners get from your music? And where can they purchase CDs or listen via streaming services?  Where people can get my music is on every streaming channel, such as Spotify, You Tube, Apple Music etc. Believe is my distributor and they ensure its availability through all the sources.

As to what do I think people might get from my music? I think hopefully they like the sound and groove but also, I know that when I read a book I underline passages which say something particular to me. I think I have a point of view on life which is a fairly rich way to draw the best out of experiences both good and bad. It is essentially based on a philosophy of “you are what you do” and tries to put emphasis on being sure to be fully engaged as much of the time as possible. As a result, I believe a lot of people might underline some of my lyrics if they read them in a book.

You can hear David’s new album via your favourite streaming platforms such as…Spotify, Amazon, YouTube, Apple, etc.
And you can follow him on social media:
Facebook –  Facebook.com/DavidDeaconMusic
Instagram –  @ddeaconmusic
Twitter/X-  @ddeaconmusic

David’s been getting lots of media attention on radio and online so watch for upcoming concerts, and make sure you check out all the tracks on Good Day Good Night – I guarantee at least one will speak to you!  Thanks to Kevin Pennant of Pennant Media Group for the invite.