The Legend of Chunk O’ Funk

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Submitted by Michael Williams

Once upon a time in Toronto, George Clinton and Bootsy Collins were driving down Yonge Street, only to see the Mothership following them and letting off a group of young funkateers aka  Chunk O’ Funk. Their role in the history of music was to keep the spirit of funk warm, disco and soul warm in George Clinton’s absence. 

Since then Chunk O’ Funk, has moved across the globe looking to rejuvenate classic 70's funk and keep it's message alive.

I tracked down the members of the legendary funk band, Chunk O’ Funk, on the eve of their touchdown and reunion at Toronto’s Mod Club.

MW: who in the current band lineup are part of the original players ?

F.H.: Yes, we have all the original players joining us, except for the Professor who is travelling through time at present. Represented will be:
Mycok Laysalotte- Vocals
Smokus Reefus- Vocals
Ellian Leeps III- Vocals
Lincoln Phayze- Vocals
Loetta Philadelphia- Vocals
Coco Winona- Vocals
Football Handsome- Drums
Lickemstick Jameson- Guitar
Malcolm Von Sledgehammer- Bass
Kisstoe Funk- Keyboards
Joe Cuba Jr.- Percussion
Junior LowblowLovebud- Saxophone
Styles Bitchley- Saxophone
Austin Jones- Trumpet

MW: How did this Funk fantasy evolve?

Rebecca Binnendyk Set to Release Debut CD at Jazz Bistro

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Submitted to Cashbox Canada
Photo Credit Art & Soul Photography

On her vibrant new debut album, Rebecca Binnendyk declares she wants to get Some Fun Out Of Life. The Canadian jazz/pop singer/songwriter certainly got plenty of fun out of making the record, and it's a safe bet you will from listening to it.

Based in Waterloo, Ontario, Rebecca has honed her vocal chops by singing in choirs and musical theatre productions as well as performing jazz in settings ranging from duos up to big bands. In response to regular demands from fans, she realised it was time to take the plunge into making an album, and the stars then seemed to align fortuitously.

Rebecca connected  with John "Beetle" Bailey, a noted Toronto producer/engineeer/studio owner and the two initially were just going to do a demo of five songs, but enjoyed working together so much they decided to go for a full length album. A successful Indiegogo campaign helped cover the expanded budget, and Binnendyk, Bailey, and an elite group of T.O. players set up shop at the renowned Drive Shed Recording Studio.

In just six days, vocal and band tracks, horns and strings were laid down. Rebecca's core band comprised Attila Fias, Kevin Laliberte, Drew Birston, Davide Direnzo and Rosendo 'Chendy' Leon, and they were augmented by horn aces William Carn, John Johnson, and William Sperandei, cellist Amy Laing, pianist Steve Wingfield, and violinist Drew Jurecka. Wingfield, Don Breithaupt, and Charles Cozens (Elton John) came up with the sophisticated and lush arrangements here.

Al Muirhead Releases Seond Album on Chronograph Records – Oop!


Submitted by Cashbox Canada

Al Muirhead’s second album, “Oop!” is named after his longtime nickname (Alley Oop). The album follows on the Fall 2014 release of hisdebut album at 79 years old! Now at 80 years young, Al was joined in studio by two close friends and jazz legends in their own right, Order of Canada and JUNO Award winner Tommy Banks (piano) and JUNO Award winner PJ Perry (saxophone), to record this project of favourite jazz standards.

There is a special musical connection on ‘Oop!’ that can only be found when three good friends who have over 60 years of experience playing together.

Al Muirhead has long been an iconic fi gure on the Canadian jazz scene. The trumpeter, composer, arranger, sideman and recording artist has been making listeners take notice for longer than jazz fans might realize.

Born in Regina in 1935, by age 12, he was playing in the Regina Symphony and dance bands. In his teens, Muirhead began to take notice of greats such as Dizzy Gillespie, Miles Davis, Louis Armstrong, Chet Baker, and Charlie Parker. While Muirhead’s playing is infused with the indelible influence of jazz giants, his flowing, melodic sound is his own — and has become influential in its own right.

Muirhead has worked with legends such as Guido Basso, Diana Krall, Paul Anka, Rosemary Clooney, Frank Mills and Dizzy Gillespie. In 2013, he was honoured with the Western Canadian Music Awards’ Heritage Award for his mentorship and industry-building.  In 2015, he earned the Saskatchewan Jazz Festival’s Special Recognition Award.

Tommy Youngsteen perform “Born in the USA” on Jan 30 at the Horseshoe

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Submitted by Lee Fraser

A few years back, a new agency emerged, an agency devoted to the kind of band everyone loves to put down: the cover band. But this agency, Born Rebels, is not promoting your typical suburban tribute bands. The bands they represent, Black Pearls and Mercenaries amongst them, are collectives of incredibly talented musicians, all touring and recording with bands of varying notoriety (from Lindi Ortega to Basia Bulat). They like to get together with their friends and jam on some classic tunes. Lucky for us, they usually do it in public.

Tommy Youngsteen is one of the bands in this group and they are quite possibly the most senior and most storied. As evident by their name, they cover three iconic legends of rock and roll, and they also have the most eclectic group of rockers. Hailing from the likes of Stars, Sam Roberts Band and Grapes of Wrath, this is a large ensemble (10 members, complete with horns) that can basically re-create the glorious sound of any classic rock song.

By now, you’ve noticed the posters around town and have seen the listings about their show at the Legendary Horseshoe Tavern on Saturday, January 30th, 2016. It’s been a while since Toronto has gotten its dose of Tommy Youngsteen, and the city is primed for a night of pure rock ‘n’ roll. This time, they’re tackling the classic Bruce Springsteen album, “Born in the USA”, track by track. You can bet that their sets will be peppered with more Springsteen hits and maybe even some classics by Neil Young and Tom Petty.

Larry Leblanc Time is On My Side!

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Submitted by Bill King

Bill King: You wear a lot of hats and wear them so well.

Larry LeBlanc: I’m wearing a Muscle Shoals T-shirt. Rodney, Rick Hall’s son, is a good friend from over the years and I had the weird idea I wanted to go back to Roanoke, Virginia and see where my family would take me and just cross over the mountains to Memphis. I’m stupid about American geography in some parts – I’m used to North to South rather than East to West. We are going up and down through hills when suddenly I realize we are in Muscle Shoals. I said, the Fame studio is here – let’s go in. This was about fifteen years ago.

I walked in and explained who I was and Rodney took me around. Someone turned to me and said, “You’re the Canadian editor of Billboard – do you know Shirley Eikhard?” Some of the swampers were in the studio that day just hanging out and had played with Shirley in Nashville. You know the music community is international. You drop in anywhere and you know somebody who knows somebody who knows you. It’s a tribal thing.

To be in that studio Fame Studio where Wilson Pickett.

B.K.: Aretha..

BTW with Reuben And The Dark, Roger Roger, Justus Profitt, Federal Lights, Merival, Jerry Leger and The Del-Fi's

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Submitted by Lenny Stoute

Reuben and The Dark begins 2016 on a remarkable note, delivering its most impactful music yet upon the start of its most significant tour to date. Following the resounding success of debut album, Funeral Sky, the arrival of new single 'Heart In Two' suggests an artist escalating to the next level, on the cusp of a North American tour supporting popular Australian singer-songwriter Vance Joy.

Produced by Funeral Sky’s Stephen Kozmeniuk (Kendrick Lamar, BANNERS, Madonna), and mixed by Matty Green (TV On The Radio, Lady Gaga, Ed Sheeran), “Heart In Two” showcases frontman Reuben Bullock’s growth as a songwriter, with new heights of sonic clarity anchored by mucho lyrical spirit. His powerful backing band kicks off its 23-date tour in Vancouver, with two nights at the Orpheum Theatre. The sold out tour includes multi-night stands in Toronto (Massey Hall), Montreal (Metropolis), and Chicago (Riviera), as well as stops in Kelowna, Edmonton, Calgary, Winnipeg, Windsor, Quebec, Rimouski, Moncton, Halifax, and more. Tour dates are listed below.

Happy Traum: Woodstock’s Own Music Legend

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Submitted by Iain Patience

Harry P. Traum is unlikely to register with many, a name that slips past with neither a nod nor a glance perhaps. Shorten it, however, pulling it together to read HAPPY TRAUM and it rings the bell, bangs the drum and resonates with roots music lovers worldwide.

A New Yorker, Happy is one of those rare musicians, a musician's musician. Revered by most in the musical know, he is easily one of the most significant acoustic-roots musicians and guitar pickers of his - and many other - generations. His guitar mastery is without equal or question and his importance to the development of many world famous - and aspiring - musicians is genuinely astonishing.

Traum recalls with evident glee and deserved wonder and amusement how as a young guitar aspirant himself in late 1950s/early 1960s New York, he picked up a phone book and rang Brownie McGhee to ask for guitar lessons with one of modern blues music's notable greats.

'At college, New York University, I'd heard Brownie's Folkways album 'Brownie McGhee's Blues'. I loved it. I rang him up and he said, "Come on down. Let's see what you can do and I'll decide." I spent the next two or three years with Brownie, visiting him every few weeks or so, just playing together. He'd tell me if I was going wrong and I'd ask him to show me what he was doing and where he was going. We'd spend two or three hours like that. It was wonderful. Sometimes Sonny Terry would turn up and we'd all just play along together.'

Alexander Mair – Drop the Needle!

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Submitted by Bill King

Editor’s Note: Bill King had the opportunity to interview one of Canada’s music industry pioneers Alexander Mair on his radio show and provided this one on one story to Cashbox Canada.

Bill King: At ten years old you said you began buying 78’s. What was the fascination?

Alexander Mair: This was around 1950 and obviously before rock broke through and every Sunday at Noon radio station CHML in Hamilton played the Top Ten in descending order. Sundays I’d situate myself in front of the old Philco radio and listen to the Top Ten which at that time was called ‘middle of the road.’ I also discovered WUFO in Buffalo and WOWO in Ft. Wayne, Indiana. WUFO was a black station in Buffalo which had an announcer called George “the Hound” Lorenz. WOWO would have been called a Top Forty station at that time. Both stations opened my ears to a lot of music that wasn’t available in Canada, at least on radio but possibly in record stores, if you found the right record stores.

B.K.: Is this is where your fascination with R&B began - the “doo-wop” era?

A.M.: Yes. At that time the Billboard chart was called the Race Records chart. No so called white radio station would play a black artist, so white artists would have hits covering the black hits particularly two artists from Toronto – the Diamonds and the Crew Cuts. Both built their careers almost exclusively on songs written and recorded by black artists.

Thoughts on James Brown

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Submitted by Bill King

James Brown can take his rightful place alongside Coltrane, Miles, Ellington, the Beatles, Marvin Gaye, Ray Charles, and Otis Redding. The guy had a remarkable music mind: a unique way of hearing. Brown camped on the off beats, a most unusual place to inject a clever twist or a hypnotic phrase.

It was 1964 when I first caught James Brown live. I was playing a prom at the coliseum in Louisville, Kentucky, in a side room, while Brown inhabited center stage in the sports arena. What a spectacle it was: Brown with his cape, three drummers and two bass players. The place burned with shrieking females and thundering rhythm. With the exception of the Count Basie band, I'd never heard a band play with such precision.

That summer, we followed Brown to Club Cherry in Lebanon, Kentucky. I was with the Shadows, a cover band playing mostly rhythm and blues classics of the day. Club Cherry was a black music venue next to a long stretch of railroad tracks. The joint was dim, its walls sticky with tobacco stains and evaporating body sweat.

Soon as we walked in, I beheld two large glass jars. The first held three or four forlorn pickled pigs’ feet submerged in what looked like pond water; its twin, next to the cashier, showcased a preserved pig snout. Posters of Arthur Prysock, Count Basie, Lowell Fulsom, and Cab Calloway graced the walls. The bands shared dressing quarters with the club owner, who on this occasion had failed to sweep away a recently spent condom. The place reeked of dirty clothes and the smell of fresh pomade.

BTW with Foggy Hogtown Boys, Harlan Wells, Grace Vonderkhun , Brock Zeman, New Year's Eve at Hugh's Room, Elliott Brood

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Submitted by Lenny Stoute
Photo at right: Foggy Hogtown Boys

Folks in the Ottawa Valley will tell ya nothing says Christmas like banjos, mandos, fiddles and beards. Since 2001,Foggy Hogtown Boys have been delivering the goods to bluegrass fans across North America and around the world. What started as a weekly bar gig among friends has grown into one of Canada’s most popular roots music acts.

The FHBs are known for having a sound that, although not bound to traditional conservatism, doesn’t sound like a bluegrass band trying to make new country or pop hits. They are noted for having the ability to slide between being a bluegrass band or an old-time band with remarkable ease and authority. Even a casual listener can tell that the FHB owe as much to the country music that happened pre-1945 as to the golden age of bluegrass.

The FHB has had a constant line-up going on 11 years now. This is a testament to the friendship and deep musical bond that is shared between the members of the band. There are no stars in the band; each member is a featured singer and instrumentalist, whose strengths are supported by the rest of the ensemble.

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