"Please don't be smoking anything in the entrance. Please move away from the entrance." The security was addressing a large fogbank of high-grade resin hanging over the sidewalk directly in front of the venue as fans of the Aussie septet got their weed on. The vibe out front was all love and brotherly hugs as the fans of the neopsychedelic outfit adhere strongly to the hippie ethic and inside, it was thus also with the addition of genre touches like wizard hats and an excellent Lizard Gizzard mask.
Opener Orb stormed through the bottom half of their set to a two-thirds full room. When the left the stage it was full and by the time King Wizard and the Lizard Gizzard came on we were jammed up against the walls and the bars and if the woman in front of me stepped back just another millimeter I was gonna have to buy her dinner. Not bad for an act that gets zero airplay, whose albums are hard to find and whose music fits no genre. Someone noted that this was their third time in Toronto and each time, they play a larger venue, then turned to cheer for the roadies moving stuff around. That was how pumped the crowd was and the band did not disappoint.
There are some musicians who seem to achieve the near impossible by imprinting themselves in a memory with a flash of sheer individuality, a signature sound or something similar that makes them instantly recognisable. We can think of Dylan, The Beatles, The Stones – all musicians that have captured that remarkable essence over the years. I’m not trying to say that New York-born bluesman Eric Bibb is the new Lennon, McCartney or Dylan but he does have that extraordinary quality of a voice and musical style that renders him immediately recognisable, a rare familiarity bound up in his very being.
By my reckoning this is about his third release in the past twelve months, following hot on the heels of The Happiest Man In The World and Lead Belly’s Gold. Migration Blues takes as its theme the seldom more relevant subject of often necessary movement of the underprivileged and disadvantaged and the struggle for survival in a harsh world. Bibb has the evident ability to write songs with depth and meaning that also retain memorable melodic hooks and soulful purpose.
Anyone who has caught Bibb at his sound-check before a live gig will know just how much effort he puts into the search for aural perfection, a trait that he carries into the studio; he recently told me he loved touring but was comfortable and relaxed in the studio where he can hear what’s going down in an optimum setting.
An early passion for jazz and blues developed upon first hearing the raw and emotive melancholy of Billie Holiday. This inspiration laid the foundation for growth as a vocalist and as an artist. Linda’s musical journey was further influenced by jazz and blues vocalists like Ella Fitzgerald, Carmen McRae, Mildred Bailey, Helen Humes, Valaida Snow and Lil Armstrong.
Linda’s eclectic repertoire includes rare and sometimes risque vintage songs of the 20’s, 30’s and 40’s, classic jazz and swing standards, cocktail lounge and torch ballads, to boogie woogie & roots blues.
Most recently, Linda has been found thrilling audiences at venues such as 70Down in Yorkville, Relish Bar & Grill, SpiritHouse/Foundry GastroPub, RasaBar, 120 Diner, Salutè Piano Bar, Gate 403, White Elephant Restaurant & Bar and Rasputin Vodka Lounge, and as well as various other venues and private functions.
Linda Carone’s debut recording, “Black Moonlight” is a must for any vintage blues/jazz lover and a worthy purchase for anyone’s music library.
‘Guilty’ sets the stage for the sultry, romantic vocal offerings of this talented singer, with the standard torch song about love and lost. A classic horn solo rounds out with just the right sound, soft percussions and mellow piano – a perfect combo.
‘Big Bad Handsome Man’ is reminiscent of Keely Smith, lovin’ her man, ready to sing and tell the world about him.
On February 24th, 2017, Ian Janes released his latest solo album, Yes Man, to critical praise and acclaim from some of Canada’s most prestigious press.
A confident and soulful record, Yes Man creatively mixes Ian’s deepest influences and experiences. It is a combination of singularly written songs, as well as collaborations with other great writers from across North America. The album includes co-writes with Andy Stochansky (Goo Goo Dolls, Ani DiFranco, Shannon Noll), Jamie Hartman (Joss Stone, James Bay, Christina Aguilera) Lee Ann and Daryl Burgess (Irma Thomas, Colin James, Patty Loveless) and iconic Canadian songwriter, Joel Plaskett.
Earlier in February the first single from the album, “Broken Record”, was released and has been receiving regular play from CBC, Clic Franco, Sirius XM, and Stingray radio, and has kept Ian busy with interviews and in-studio performances.
Last week, Janes’ song, “Can’t Remember Never Loving You”, co-written with Byron Hill (George Strait, Ray Charles, Alabama), was prominently featured in the groundbreaking music-based TV drama, Nashville. The song was performed as a posthumous duet by lead characters Deacon (Charles Esten) and Rayna (Connie Britton) as a dramatic conclusion of the show’s mid-season finale.
With the dwindling number of live music venues in Toronto and GTA, the Taste of Colombia El Salon Room in Oakville, Ontario is a beacon of light on the darkening landscape. Much Music VeeJay and celebrity icon Michael Williams and his Michael Williams Presents shows are providing a listening room atmosphere for new acts and established artists to stage mini concerts. The venue serves coffee, some of the best coffee on the planet by the way, to a seated audience of around 50 music lovers.
On the Sunday before Valentine’s Day, two veterans of the Montreal music scene now living in Ontario, Lisa Hartt and Don Graham celebrated the night of love with a concert aptly called ‘One Night, Two Hearts’. Both artists performed solo shows of love songs to celebrate the occasion with Hartt adding bagpipes to her set on a couple of songs.
Don GrahamThe night started with Don Graham and the title track of his album “ A Willing Heart”and his set contained some new tunes he’d written including “ Everything About Her Feels like Home” as well as a version of the old standard “ The Glory of Love” to end his set.
Submitted by Gary Richardson Biography by Sarah French Publicity
No Filter is the eleventh album from MICHAEL KAESHAMMER. This is the sound of an artist following his muse completely unhindered by thoughts of commercial imperatives or genre constraints.
The prolific Vancouver Island-based singer/songwriter/pianist/producer has earned a loyal international following as a triple threat. He’s a piano virtuoso with a technical mastery of many different styles, an eloquent singer/songwriter, and a charming and engaging performer.
On No Filter, Michael mixes his well-crafted and melodic original songs with a couple of evocative piano instrumentals, and the result is a delightfully varied collection.
Kaeshammer has completely come to terms with his eclectic taste in music, something showcased on the record.“The songs here are just things I wanted to write,” he explains. “If they sound as if they have been influenced by a lot of different things, then that is just the way it is. To me, it just sounds like my music.”
On No Filter, Michael takes the listener on a highly entertaining journey through refreshingly diverse musical terrain.
The opening track “Letter From the Road” is reminiscent of early Manhattan Transfer mixed with a Broadway influence, taking you back and forth from boogie woogie to classic show tune styles.
“Nothing Seems to Reach You” shows this artist’s funky side, with classic organ licks and R&B horn effects.
Submitted to Cashbox Canada Silence Factory Photo Credit Anthony Sheardown
Windsor rockers The Silence Factory are excited to announce the release of the video for their latest single'High'with an Exclusive Premiere today onLive in Limbo. The Silence Factory will also be touring in support of their new music, and have selecttour dates in February and March with a full Cross-Canada Tour throughout April and May, to be announced soon.See below for the latest tour listings.
The Silence Factory’s new track‘High’was produced by Juno award winning and Grammy nominated producerGavin Brown(3 Days Grace, Billy Talent) and is the second single from a new EP that will be released later this year. The song is currently going for adds at Canadian Rock Radio and is already getting spins97.7 Hits FM,FM 96,The Fox 105.3,Rock 106.7,The Wolf 104.9and more! The first single from their upcoming EP release, a cover of Harvey Danger’s‘Flagpole Sitta’,gained considerable spins at radio last year, charting at #51 on the Canadian active rock charts.
The video for‘High’was directed by Jendo Shabo from Moonjump Productions and in keeping with the lyrics of the song, the video has a dark, moody vibe.
2016 JUNO-Nominated trumpeter Al Muirhead’s most ambitious project to date, Northern Adventures - The Canada Sessions Vol. 1 is a collection of standards pairing him with many of Canadas jazz greats!
A western Canadian jazz icon, Al recently came to wider prominence in North America with the release of his debut album Its About Time. Now at the age of 81 years old, Al is making up for lost time with his third release in just two years.
Featuring five different small ensembles of both old friends and new, Al harkens back to his youth, calling standards from the great American songbook live in the studio. Northern Adventures features jazz performed with spontaneity and joy, and with a command of the music that only players of the caliber of Al and his guests can.
“Love Me Or Leave Me” became the title of a 1955 film “Makin' Whoopee” a jazz standard and a huge hit for Billie Holiday. Guido Basso on flugelhorn is reminiscent of Kay Winding and J.J. Johnson trombone styles while guitar solos are played effortlessly in synch with smooth piano.
“They Can’t Take That Away From Me”, the George and Ira Gershwin song, was made famous by Fred Astaire in the 1937 film Shall We Dance, and recorded by Frank Sinatra, Rod Stewart and many others. Proof that a good song is a good song and can withstand the test of time. Muirhead’s offering is a classic 60’s style of trumpet, a trait well known in that era of jazz standards.
It was a packed and seething house at Rebel , the anticipation high for the First Nations DJ collective's unveiling of current album We Are The Halluci Nation. ATCR occupy a niche all their own in mixing party music with political lyrics, hip hop beats with powwow-step. On We Are The Halluci Nation and the set which followed, the dominant rhythms were those of hip-hop, reggaeton, and dancehall, with most of the EDM influences back burnered for the show.
The video mixing of Bear Witness brings the visual focus, keeping it real by deconstructing and subverting pop culture depictions of Indigenous people. For the energy and rabble rousing though, it's all down to Zoolman, DJ NDN and Bear Witness and whoa, can they bring the party. In the span of three album, they've arrived at a musical and cultural nexus where their three communities intersect: North American indigenous people, DJ/EDM club culture, and the post-millennial global music community and the audience reflected that. From the first rattle of the tribal drums underpinned by massive bass beats, the place went nuts.