Dirk Quin – Big City Jazz at Stage 64

The Dirk Quin Quartet is a  high energy Jazz/Funk outfit from Philadelphia.  Dirk Quin on guitar is the group leader supported by Rory Flynn on electric bass and Cody Munzert on electric piano and synth. The outsider in the group is the lone Canadian Charan Singh (aka Andrew Austin) on drums. Charan currently spends significant time each year in Columbia, South America, soaking up the indigenous  rhythms and percussion techniques of that part of the world. The music presented was ablaze with funky leads, rhythms and keyboard explorations. Here are some images from the evening………  in the Green Room ……. Rory Flynn (Bass), Cody Munzert (Keyboards), Charan Singh (drums).

   

On stage:

                

Thanks again to all the sponsors, volunteers and organizing committee for another fine jazz concert series.

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John Wort Hannam at Soul Foods

John Wort Hannam at Soul Foods Restaurant –  September 11, 2019

Over the past few years Mike Robinson has promoted a series of folk/roots music concerts at the Studio Stage Door. This is more or less a continuation of the old Swing Street concerts series that was originally promoted by Gord and Jill Johnston for well over ten years in the 1990-2000s. The musical philosophy remains the same with a focus on musicians that tend to perform acoustically and are largely off everybody’s musical radar. There is a lot of talent out there that does not fall into the usual pop/rock categories. Singer / Song writer John Wort Hannam is such a performer. He is based out of Fort McLeod, Alberta and his music is best described as  Alberta Roots Music. It’s country music without all the trappings of the Nashville Country music scene. It is “real” country music that is closer to the original concepts of the genre. There are no screaming electric guitars or massive production videos.

John has performed in Cranbrook in the past and, unfortunately, I missed him last time he was here. This time around he was accompanied by Scott Duncan on fiddle and Jason Valleau on upright bass. With the exception of Cyndi Lauper’s magnificent song Time after Time all of the songs performed were originals. The songs on the set list included Acres of Elbow Room, Old Flame, Gonna See My Love, Song for a Young Son, Love Lives On, Man of God, Wild Young Things, Quiet Life, Church of the Long Grass, Under the Stars, etc. I think you get the idea of where John is coming from. It is tough to pick out my favorite of the evening but my first choice would be Good Night Nova Scotia.  It had a strong Celtic vibe that was re-enforced by Scott Duncan’s foot stomping Cape Breton style fiddle playing. To round out the song Scott segued into the well known session tunes Saint Anne’s Reel and Dowsy Maggie. My other favorite (among many)  would be Ain’t Enough (I have added a video clip of this song at the end of the blog). The musicianship of this trio was exemplary. As a group they were super tight and as individual performers they all shine.  Here are some photos from this night of music……

      

Sound Tech – Ben Blomander

Mike Robinson – Concert Promoter

                   

I offer my thanks to John, Duncan and Jason for their excellent music and thanks to Mike Robinson and Ben Blomander for the excellent production values and, of course, thanks to the management and staff of Soul Foods Restaurant. Let’s all do this again sometime.

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And now for the bonus – John Wort Hannam and some fine finger picking guitar and vocals.

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SummerSounds – Dancing the night away with MOJO

SummerSounds – Rotary Park Cranbrook B.C. Saturday 10th, 2019 8pm featuring the Calgary blues band MOJO.

Although the band works out of Calgary it has a strong connection to the East Kootenays. The singer/harmonica player Ethan Askey is originally from Cranbrook. The other members of the band are Danny Patton – lead guitar; Doug Boland – bass guitar and  John Jackson – drums. The band was the third on the list for the night and, despite a storm earlier, they were more than ready to deliver an evening of rock solid blues based music. To that end they primed the dancers in the audience with the old Fat’s Domino tune Ain’t that a Shame and followed that up with Let the Good Times Roll. That opened the flood gates for the dancers to do their thing and without any hesitation the area in front of the band stand was soon flooded with dancers. Apart from a short intermission break Ethan Askey and his band mates wailed their way though their blues-rock repertoire for over two hours. Other songs in their set lists included I’m a Lover Not a Fighter; Spooky; Let’s Dance; Shaking all Over; Shame Shame Shame; Tennessee Whiskey (a country song); Gotta Serve Somebody (Bob Dylan); Going to a Party; She Ain’t Never Coming Back;  A different version of Suzie Q; Use Me; Three Hundred Pounds of Joy; Brand New Cadillac and many more staples from the rock/blues repertoire. Ethan Askey’s wailing blues harp was the over riding sonic flavor of the evening with all member of the band  rock solid behind him. The bass player Doug Boland was an interesting study. He started out the evening being super cool. Not much movement there just solid backup riffs. But eventually the ol’ bass players performing genes kicked in and by the end of the evening, like most bass players, he was “romancing and dancing” with his bass in fine style. Maybe it was the addition of the hat and Bono glasses that kicked him to high gear.

Ethan is a home town boy who grew up going to school here in Cranbrook before going out into the wider world. His local knowledge, anecdotes  and stage patter cemented the perfect performer/audience relationship. It was pretty obvious that he had them in the palm of his hand.

 

           

Wayne Stetski M.P.

                       The SummerSounds program, organized by The Fisher Peak Performing Arts Society, has been running for a few years now and with each passing year the attendance  has steadily grown from a handful to what must have  been a several hundred very happy patrons on this particularly fine summer evening. The society, the volunteers and the many sponsors should be thanked for the considerable efforts that they put into presenting this continuing program of fine local musicians and musicians “from away”. On that note don’t forget the fine Argentinean keyboard player Gabriel Palatchi and his band who will be performing in the SummerSounds program on Saturday August 24, 2019. It promises to be an exceptional night of Funk, Jazz, Hispanic, Flamenco and New Tango with lots of dancing in the park. I have seen and heard Gabriel a number of times over the past 3-5 years and his music should not be missed.

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Elizabeth Shepherd and Michael Occhipinti at the HeidOut

Saturday, June 29th, 2019 – The HeidOut Restaurant in Cranbrook

Elizabeth Shepherd and Michael Occhipinti

I remember a conversation I had many years ago with the British Singer / Songwriter Martyn Joseph.  His home base was in Wales. I never thought of Wales as the center of British pop culture but he assured me that it was the perfect place to call home. A significant number of major British population centers are only a couple of hours away by car. In any given week he could play  as many gigs as he liked without the risk of saturating his audience with too many repeat performances. In terms of numbers he had access to a huge audience. Financial compensations were enough to cover expenses and provide for a reasonable income. The bonus is the ability to have a normal family life style.  For variety he could hop on a plane and do short tours into the major population centers of Holland, Germany or Denmark and not be away from home for any extended periods. By and large Canadian performers are not so lucky. By comparison the distances between population centers are  huge, weather conditions forbidding and audience numbers small (by comparison). Financial compensations often barely cover expenses and with all the touring family life must take a beating.  Case in point is this current tour by Elizabeth Shepherd (vocals and piano), Michael Occhipinti (guitar), Mark Nelson (drums) and Jon Wielebnowski (electric Bass guitar). To play the gig in Cranbrook they left Chilliwack first thing in the morning, drove all day, performed that night, then onto Calgary next day to catch planes back to Toronto and Montreal.

Both Elizabeth and Michael are heavy hitters on the Canadian music scene. Both have numerous academic qualifications, awards and Juno nominations. Michael is from Toronto and Elizabeth is from Montreal and both performers spend the better part of their life on tour. Mark is from Montreal and Jon is from Calgary. This current two week Western Canadian tour  included a dozen back to back gigs.

      

The drummer Mike Nelson is from Montreal and it was obvious from the first down beat that he is a well schooled musician. He obtained his University Music degree in New Zealand and with his deft use of brushes, sticks, shakers and mallets he comes across as a serious percussionist.There’s “no crash and bash” here. It is all a very controlled dynamic sonic landscape supporting the two soloists.

Jon Wielebnowski is “the new kid on the block”. Literally. This is his first significant tour.

The musical vibe of the evening was a pop/jazz mix that owes much to the complex musical world of jazz and the vocal sensibilities of the  rock/pop world. In among Elizabeth’s original songs there was a sprinkling of covers such as Leonard Cohen’s Marianne and Bruce Cockburn’s Lovers in a Dangerous Time. As an aside, every time I hear that song I think of the 1982 film The Year of Living Dangerously, staring Mel Gibson, Sigourney Weaver and the brilliant Linda Hunt ……a must see film set in Indonesia in 1965. There was that quirky little original French tune Reine du Monde in the mix, the rollicking gospel inspired Doing the Good Lord’s Work, some Brazilian inspired (perhaps) vocalese, a brilliant version of the Beatles Blackbird and Bruce Cockburn’s I Wonder Where the Lion’s Are. In an ironical twist a deer wander by the window almost on queue. A movie script writer could not have written a better scene. Throughout all the music was Elizabeth’s funky keyboard offerings that, to my ear, seem to be influenced by the Cuban masters so lovingly explored by the Canadian Soprano saxophonist Jane Bunnett. Her supporting musicians are masters in their own right. Michael Occhipinti is probably one of Canada’s most notable guitarists and his accompaniments and solos, as always, were fluid and seamless additions to music on hand. Michael and has been a frequent visitor to this area and will be back here for a SummerSounds performance in Cranbrook’s Rotary Park on Saturday July 20th, 2019. He will be a member of Lester McLean’s Funk/Soul outfit. The drummer / percussionist Mark Nelson is a new name to me but he is one that we will probably hear more of in the future.  He is a very, very tasty player. As I said above, the bass player Jon Wielebnowki is the new kid on the block and looks like he is fresh out of high school. This is his first tour. He was rock solid the whole evening. Here are some images from the evening……..
  

 

  

 

 

 

                        

At the end of “the show” the band kicked back  and played through some “off of the top of the head” material and gave the audience that had remained behind some fine jazz inspired explorations.

Last, and not least, thanks must go to the management and staff of The HeidOut Restaurant for their fine food, refreshments and their support of live music.  Also the fine contributions of local promoter Louie Cupello for his unending efforts to bring live music to the area.  Thanks Louie …. this ones for you …….

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Lonesome Jim at Soul Foods

For those who don’t know the venue, Soul Foods is a restaurant located in the old Mount Baker Hotel on Baker Street in Cranbrook. The manager is a keen supporter of live music and on most Thursday evenings (6-9pm) there are live musical events. A favorite event is the open mic hosted by Keith Larsen every first Thursday of the month. Recently (Thursday, June 20th, 2019), Lonesome Jim (aka James Neve) performed two sets featuring his vocals accompanied by his stellar acoustic 6 string and 12 guitar pickings.Never one to stand still for too long he was sporting his new and improved persona. The “Willie Nelson” pony tail was gone and has been replaced by  a new taunt, trim back and sides hairstyle. The looks may change but the performance, as always, was stellar. Here are couple of photos of the new Lonesome Jim.

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Lizzy Hoyt at Studio 64

 

Danny Boy ……. My favorite story about this song is the one told by a traditional fiddler in a concert at the Stage Door in Cranbrook. He had been busking in Toronto when some one came up to him and asked him did he know Danny Boy?

“Well yes I do”

“I’ll give you ten bucks to play Danny Boy”, and with that he dropped a ten dollar bill into the violin case.  The fiddler was not over enthused with the prospect of playing Danny Boy. It’s  an old favorite of mothers, grand mothers, Irish Tenors and Saturday night drunks and the fiddler had heard more versions than he could care to remember and he really didn’t want to be added to the list. However, ten bucks is ten bucks so he over came his hesitancy and launched into a heart rendering version of the old war horse. He thought he acquitted himself very well indeed, until the patron reached down and picked up the ten dollar bill.

“What are you doing? You wanted Danny Boy and I played it”

“Yeh, but I didn’t like the way you played it”.

That disgruntled patron should have been in the audience on Saturday night when Lizzy Hoyt closed out her concert with an unaccompanied encore of Danny Boy. It was outstanding !!!!!

Lizzy Hoyt in Concert – Stage 64, KimberleySaturday, March 23, 2019 – This is the second concert in the Spring Concert Series.

This is Lizzy Hoyt’s second trip to the East Kootenays. She was last here February 2016 to perform with the Symphony of the Kootenays at her World Premier of Canadian Folk Sketches. Lizzy on guitar, fiddle and vocals this time around was accompanied by Josh McHan on upright Double Bass and her long time guitar and Mandolin player Chris Tabbert.

From her bio…. “Lizzy Hoyt is one of Canada’s most powerful Celtic-folk artists. Known for bringing Canadian history to life with music, her songs like “Vimy Ridge”, “White Feather”, and “New Lady on the Prairie” that have garnered awards and nominations while also connecting strongly with audiences across the country. In 2013, Lizzy was awarded the Queen’s Diamond Jubilee Medal by the Governor General of Canada for her outstanding contribution to commemorating Canadian veterans and history through music.

       

Like her encore of Danny Boy the entire concert on Saturday night was outstanding. The group opened the evening with a set of foot stomping fiddle tunes followed by The Star of the County Down. In concert Lizzy offers the complete Celtic package from Fiddle tunes, well known ballads such as Out on the Mira (from Nova Scotia), The Banks of Loch Lomond and onto some original songs like New Lady of the Prairie, White Feather, and Vimy Ridge. Tucked into the mix was even the country classic Jolene. Each performance was a sparkling jewel of polished musicianship. The program choice was great, the accompanying musicians were spot on with great Bass playing by the Edmontonian jazz musician Josh McHan and Chris Tabbert playing his Russian Stalin Era Mandolin (he found in a junk shop amid a bunch of old accordions). Lizzy played and passed around her wonderful custom Collings guitar for Chris to use when she was playing fiddle. Her fiddle of choice for the evening was a Mezzo Forte carbon-fibre instrument. The only thing missing from the evening was her Celtic Harp  performances. Unfortunately the instrument was laid up and need of some repair.

Conversations in the audience indicate  that this was the best ever performance at Studio 64 and for that we should thank the organizers, volunteers and sponsors for all the dedication and good work.

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Bonus video:

Danny Boy – Lizzy with a nice guitar arrangement with moving bass lines

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Guy Davis – Story Teller

Guy Davis & Fabrizio Poggi : “Sonny and Brownie’s Last Train”   Stage 64, Kimberley, Sunday October 14, 2018, 3 pm.

They did it again. The organizing committee has this rule not to invite repeat performers. Much to our joy, a few weeks back, they set the rule aside for Gabriel Palatchi for him to perform in this fall’s Jazz and Blues Concert Series. Now they have done the same for Guy Davis. One could make the case that Guy’s previous performance in Kimberley was a solo act and this time around it is not the same thing. He has the Italian Blues Harp player Fabrizio Poggi along for the ride (considering the concert title the pun is intended). The duo is fresh from this year’s Grammy nomination in the Traditional Blues Category for their recording Sonny and Brownie’s Last Train – A look back at Sonny Terry and Brownie McGee. The project was recorded in the summer of 2016 in Milan and the album features the original, title track song written by Guy Davis, songs by both Sonny and Brownie, as well as songs known to have been recorded and performed by the famed duo but written by their contemporaries, such as Libba Cotton and Leadbelly. The famous blues duo Sonny Terry and Brownie McGee set the standard for the blues harmonica, guitar and vocal combination and were professionally very active when Guy Davis and I were very young men. Guy is an actor, writer, and all round African American renaissance blues man. He plays in a tradition that has been largely rejected by contemporary black musicians as irrelevant  and the genre has largely been appropriated by white musicians. A point to note is that at the Grammy Awards Guy’s recording was beaten out by The Rolling Stones Blue and Lonesome – a white band paying tribute to black musicians of a bye gone era. I think there is some irony in that.

Afro-Americans of Guy’s generation mostly favor the urban styles of Soul, Funk, hip-hop and rap. By rights, as a urban black man that should have been his musical route forward. Instead he chose to look back to former times and mine the rich musical mother load of a century of blues traditions. As a harmonica player, guitarist, vocalist and story teller he succeeds  at a level unmatched by his contemporaries. Apart from his technical mastery of the musical idiom I think the success of his performances lies in his story telling. All truly great songs tell a story and the blues are no exception.

His sidekick for the project is an Italian and how an Italian could submerge himself so completely in a foreign American tradition is beyond me. I am sure that in his personal blues journey there lies a tale worth hearing.

The duo kicked off the evening with two classic pre-World War II country blues – Tommy Jackson’s Maggie Campbell’s Blues and Blind Boy Fuller’s Step it Up and Go. In the 1960s every blues anthology of note included these performers. They were right up there with Robert Johnson and Big Bill Broonzy. The rest of the concert included Brownie McGee’s Walk on,  ‘Cause I’m Evil, Sonny’s Horray, Horray These Women is Killing Me, Robert Johnson’s Walkin’ Blues, Elizabeth Cotton’s Freight Train, Leadbelly’s Midnight Special, Bob Dylan’s Lay, Lady, Lay (complete with some of Bob’s vocal mannerisms), Sleepy John Estes You’ve Got to Give Account (with some really nice guitar picking) and Blind Lemon Jefferson’s Please See that My Grave is Kept Clean. As well as all the traditional old time blues Guy performed some of his originals. Including Lime Town, Kokomo Kid, I’m Going to Shake it like Sonny Did, I Wish I Hadn’t Stayed Away So Long, Blackberry Kisses, Sonny and Brownie’s Last Ride  and, probably one of the best narrative songs I have heard in a long time, Sugar Belly. It was the story of mixed race girl cursed with great beauty. It was a song so powerful that one of my neighbors was reduced to tears. Here are some more images from the evening.

               This is Guy’s third trip to the area. He performed at the Studio / Stage Door in Cranbrook many years ago and more recently, April April 11, 2015 at Centre 64 as part of a concert series. Guy lives in New York so to come to Kootenays at least once is a big deal. To come three times is almost heroic. I have been to all three concerts and if he should walk though the door again over the next couple of weeks for another concert I would be beating down the door to attend.

On behalf of the organizing committee the MC Peter Kearns would like to thank fellow committee members, the many volunteers and the sponsors Burrito Grill and  A B&B at 228 for making the concert series possible. Thanks to Guy Davis and Fabrizio Poggi coming all this way to give us a truly wonderful evening of music and stories.

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Post Script: The Guy Davis concert ended an East Kootenay “Blue Period”. Over a two weeks there have been four concerts that thematically focused on The Blues. First out the gate was Clinton Swanson / Kelly Fawcett / Doug Stephenson Blues Trio at Stage 64 in Kimberley on September 29, 2018. This was followed by Canada’s Queen of the Blues Rita Chirelli and her band at the Key City, Cranbrook on Friday October 12, 2018 and Tracy K / Jamie Steinhoff Duo in the Saloon Lounge of the Heritage Inn in Cranbrook on Saturday October 13, 2018 and, finally, Guy Davis and Fabrizio Poggi at Stage 64 in Kimberley on Sunday afternoon, October 14, 2018. All told that is a pretty meaty dish of blues fare in a very short period of time.

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Tracy K & Jamie Steinhoff Blues Duo

The saloon bar in the Heritage Inn Convention isn’t a new venue. It has been around for  a while and has mostly been used as a venue for stand up comedians. The manager took note of the success of Auntie Barb’s Bakery and Bistro as a music venue and figured “well he could do that”. It was a good move. For music the room is ideal. Perhaps a slightly raised stage could improve the sight lines but apart from that the lighting is reasonable and the sound acceptable. And, more to the point, the room is quiet and the audience respectful. Louis (“Louie”) Cupello has lined up some fine acts to get the ball rolling.

Local singer/song writer Maddi Keiver was back in town following her recent trip to Dublin, Ireland. She opened the evening with some cover tunes before moving onto her original songs Three crows at the Funeral Home, Crystal Clear, Landslide and Hopeless. In between these she squeezed in a version of The House of the Rising Sun.

         Once again the Winnipeg / Thunder Bay musical axis strikes another blow. Every once in a while the musicians from that neck of the woods venture out into the wider world and refresh our memories of how central that axis is to the Canadian musical landscape. This time around it was the blues duo of Tracy K (vocals, guitar and blues harp) and her musical side kick Jamie Steinhoff (vocals, guitar and resonator slide guitar). Musically the duo has been around the block for a number of years;  traveling back and forth across Canada and down “blues highway 61” into the American south to savor the heartbeat of the blues.   Tracy was raised on sixties radio and her brother’s hippie records and began her professional career at twenty five while living in Toronto. She moved back to Beausejour in the 1990s, started a family and, eventually, began her solo career. She is inspired by local blues greats Big Dave Maclean and Brent Parkin, and contemporaries Rita Chiarelli, Sue Foley and Suzie Vinnick. She is currently Nominee for Blues Artist of the Year at the Western Canadian Music Awards in October 2018. On the other hand (so to speak) Jamie Steinhoff started his musical life as a Blue Grass banjo player. He still has a great love for the style but over the years he has slipped into a role as a blues performer.    As a duo Tracy and Jamie have traveled a lot in 2018 for folk festivals and a Home Routes Tour.

Perhaps Tracy is best known for her blues harmonica playing and her affinity for the old time female blues singers of by gone eras. In the first set she paid homage to Sippie Wallace with a version of Everybody Loves My Baby and Memphis Minnie’s Chauffeur Blues (originally recorded in 1941). Here and there throughout the evening Tracy  performed some of her original material, a jazz tune here and there and even Anne Murray / Gene MacLellan‘s Snowbird. Her sidekick, Jamie Steinhoff, when not traveling with Tracy, has a real job as a cook. His musical repertoire includes some Blind Blake, Dave Van Ronk and Brownie McGee tunes with great finger picking on both the resonator slide guitar (in open D or open G) and a wonderful Guild F-40 acoustic guitar (I love the shape of that instrument). He also dipped into the country bag with an original song called Too Low Down to Sing the Blues (so I have to sing a country song). His back up slide playing on Nobody Knowns Atlanta Like I Do was outstanding. Here are images from the concert ….                 

As a venue The Heritage Saloon is great addition to the local music scene and I am looking forward to hearing Ken Hamm perform here on Saturday November 3, 2018.

Tracy and Jamie would like express their thanks to the house staff and the audience for their support of live music. They would especially like to thank Tom Bungay for the sound system and John Bisset for the setting up the stage

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Clinton Swanson Blues Trio at Stage 64

The Nelson based Sax player Clinton Swanson has “brand name” recognition here in the East Kootenays. Over the years Clinton with his pork-pie hat and quiver of saxophones has been a frequent visitor to the area. Most recently he was with the Melody Diachun’s  “Back to the Groove Tour” and also with  Jon and Holly in a Cranbrook Summer Sounds Rotary Park concert. Because of  that “Brand Name ” recognition it was understandable that the group was billed as the Clinton Swanson Blues Trio. In actual fact it was more appropriately the Kelly Fawcett Blues Trio with Clinton Swanson on tenor and baritone saxes and Doug Stephenson on bass. Once the concert got going it was easy to hear why Clinton said “we are part of Kelly’s trio and we are here to support him”. Kelly is a new  face to most of us but he has been a long time friend and musical associate of Clinton and they have toured together frequently over the years. The other member of the trio, Doug Stephenson is also a well known Nelson musician who has also toured extensively in the Kootenays. He is living proof that to make a living as a professional musician these days one can’t have “too many arrows in one’s quiver”. I first encountered him playing bass guitar behind Gabriel Palatchi, then as a nylon string Bossa Nova guitarist with Melody Diachun, then as full on electric guitarist with Melody Diachun’s “Back to the Groove Tour”. On this particular night with Kelly Fawcett he is a stand up bass player (no pun intended). In every performance circumstance he looks like he is having way too much fun. He excels on all his instruments and that probably explains why he is in such demand. I am not sure how he is able to keep up his superb skill levels on all instruments. He must practice constantly, all day, every day. I must ask him about that.

In this day and age we are used to Blues groups being guitar based. You know the usual configuration – drums, electric bass, rhythm guitar and a screaming lead electric guitar backing up one or more vocalists. Kelly Fawcett is the vocalist and guitarist in the group, Doug is the bass player but there is no drummer. To be honest, the absence of a drummer is a plus. Without a drummer there was lots of space in the music to hear the vocals, the finger picking guitar leads and backups, and Clinton’s and Doug’s superb solos.

The night kicked of with a couple of standard tunes. Dr John’s New Orleans inspired Such a Night from the Martin Scorsese film The Last Waltz and Robert Johnson’s Walking Blues. In the latter Kelly played some excellent open G slide guitar. From then on the night was a mixture of Country Blues, Jump Tunes (Let the Good Times Roll, Crazy About My Baby), old time tunes (Nobody knowns Atlanta Like I Do), a novelty number here and there, a Tom Waits number (Hey Little Bird Fly Away Home) and, to brighten up the sonic landscape, a few original tunes (Numbers Blues / The Gamblers Blues and Cheddar). For me there were a couple of standout tunes namely Kelly’s interpretation of Taj Mahal’s  classic Fishing Blues and Clinton Swanson’s baritone Sax exploration of Harlem Nocturne. All in all another classic concert in the Fall Jazz and Blues Series. Here are some images from the evening ……..

          

As always, thanks must go to the volunteers, the organizing committee, The Burrito Grill for feeding the musicians and “A B&B at 228” for the musicians lodgings.

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Gabriel Palatchi at Studio 64 in Kimberley

Gabriel Palatchi Trio at Studio 64 in KimberleySeptember 8, 2018, 8pm. This is the first concert of the 2018 Winter Jazz and Blues Concert Series.

Keyboardist Gabriel Palatchi is a citizen of the world. He is an Argentinean with Jewish, Turkish and, given his surname, Italian Roots. He is a ceaseless wanderer touring the world, performing and studying the many musical cultures  he encounters along the way. His recent forays into Spain and Morocco included the study of Flamenco piano music.

“Born in Buenos Aires, Argentina in 1982, Gabriel Palatchi started his first piano lessons at the age of 8. He spent his formative years in Buenos Aires studying classical piano, and being mentored by some of the great maestros of blues, tango, jazz and Latin jazz.  After graduating in 2007 from Berklee international School, Argentina, he spent several months in Cuba where he studied Latin jazz with the master Chucho Valdez. Gabriel subsequently became a composer when he moved to Tulum, Mexico in 2008, and his life experiences up to that point influenced the composition and production of his first solo album “Diario de Viaje” (Travel Diary) in 2010. The album received critical acclaim from music industry journals, and was chosen as one of the best Latin Jazz albums of the year by JAZZ FM Toronto.   He went on to record a further 3 albums that cemented his unique sound, culminating in his 4th and latest album, “Made in Canada” (2017), which also happens to be his first live recording. Gabriel’s songs are a representation of the many cultures which have influenced his music over the years, with a deep core in Latin Jazz.

For the past 8 years Gabriel has been performing at major international music festivals, touring throughout Mexico, Canada and Europe.  His music is broadcast across radio stations all over the world from Alaska through to South America, Europe, the Middle East and Australia  It has been reviewed and featured in the Rolling Stone Magazine, Latin Jazz Network, Ejazznews, All About Jazz, Jazz Caribe, The Toronto Star, Salsa Son, Timba Columbia, Newstime South Africa and inside World Music, among many others.

“Trivolution” was selected as the Gold Medal Winner in the Composer/Album categories; achieved TOP TEN status in the 2015 “Global Music Awards”, and also featured in the “Emerging Artists” section of the April 30th, 2016 issue of BILLBOARD MAGAZINE.”   – This info is from Gabriel’s website.

In the past he has performed in Kimberley. In 2015 his band was included in that year’s Jazz and Blues Concert series ( http://www.rodneywilson.ca/2015/09/13/its-a-long-way-from-buenos-aires-the-gabriel-palatchi-band/ ). I must commend the organizing committee for setting aside their “no repeats rule” to invite Gabriel back to the Studio 64 stage. In that particular performance Gabriel was joined by West Kootenay musicians Doug Stephenson on bass and Tony Ferraro on drums for a collection of some familiar material (Juan Tizol’s Caravan and Ahmad Jamal’s Poinciana) along with his original compositions. This time around the other members of the trio were Cameron Hood from Vancouver on 6 string Tobias electric bass and Luis “El Pana” Tovar on drums. Luis is originally from Venezuela and is now a resident of Calgary. The program for the evening was all original material. As can be imaged, rehearsing such a scattered group of musicians is a challenge. It was done by exchanging mp3’s across continents followed by only three days of rehearsals before the tour. Cameron assures me that the music is fiendishly difficult and for him to nail the exotic piece “in sevens” required many hours of solo practice. Cameron explained that the piece was in 7/8 (perhaps a nod to Gabriel’s Turkish roots) but it was complicated by mirror images of the rhythm. 123 4567 followed by 1234 567 – three and four followed by four and three. On top of that there was all the salsa, Latin and funk overtones. I confess as an Anglo the names of all the Spanish tunes just flew by me. “Oh yeah. There was that thing in sevens. Then there was the Flamenco piano piece and the piece with fragments of Astor Piazolla’s Libertango but as to the names of the tunes they just flew by”. No matter. The music was a tour de force of Latin, Funk and not to be forgotten Nuevo Tango.

In Argentinean Nuevo Tango, drum kits do not figure prominently in traditional performances . Luis “El Pana” Tovar stepped up to the plate magnificently, particularly in the Tango pieces. That style of music is noted, among other things, for its shifting rhythms and structural complexities. It’s enough to make you wonder if a thorough grasp of rhythm requires being born south of the equator. Luis is a noted conga player and percussionist and that may account for some of the musicality in his performance. Or is it perhaps because the guy appears to be almost seven feet tall? Maybe from that height the rhythms of the world are more understandable.

Here are some images from a spectacular night of music.

                       

As with the previous concert in 2015 the music was outstanding. So much so I hope the organizing committee will once again put aside “the no repeats” rule if Gabriel decides to return.

As always, thanks must go to the volunteers, the organizing committee, The Burrito Grill for feeding the musicians and “A B&B at 228” for the musicians lodgings. Oh, by the way, the bassist Cameron Hood would love to come back this way with some of his fellow Vancouver musicians.

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