11:00 am Musical Taste of the Tattoo – Free Platzl Concert
Cowichan Pipe Band
BC Regimental Band
Saturday, July 15th, 2017
09:30 am Rotary Pancake Breakfast – Centre 64
10:00 am Parade of Bands – Centre 64 to Civic Centre
5:45 pm Doors open – Civic Centre
Concession Opens – Support the Dynamiters
6:00 pm Kimberley Community Band – Civic Centre
7:00 pm Tattoo Performance – Civic Centre
9:15 pm Ceilidh / Dance with Johnny McCuaig Band
For the past 90 years the Kimberley Pipe Band has been an integral part of most major parades and festivals held in the Kootenay region and beyond. Every 10 years, since their 50th anniversary they have hosted a major music and marching performance known as a Tattoo. The 2017 Kimberley Pipe Band’s 90th Anniversary Tattoo featured a 2 hour show of music, pipes, drums and dancing; a street parade featuring over 200 drummers
FREE PLATZL CONCERT – FRIDAY 14th, 2017, 11 am
AT THE KIMBERLEY ARENA, SATURDAY JULY 15, 2017 (in the evening)
Kimberley Community Band
KIMBERLEY PIPE BAND
JAMES NEVE “On the Road to Passchendaele”
That was not the end of the festivities, the evening concluded with a kitchen party in the Arena.
Post script: Here’s something that puzzled me. I have been in Canada over forty years and as usual the Canadian national anthem was played during the evening but this is the first time in all those years that I have been at an event where they played “God Save the Queen”. I find the playing of “God Save the Queen” in Canada a little weird. That’s the British national anthem.
Mandolin music has a long European history that is usually associated with Italian Neapolitan music. When the instrument migrated to North America in the early part of the twentieth century it underwent some physical changes. The traditional round back gave away to relatively thin flat backed instruments in a number of shapes (A-Style; F-Style and others). The most famous of these North American instruments were those designed by Lloyd Allayre Loar. He was a sound engineer and master luthier with the Gibson company in the early part of the 20th century. His instruments, including the famous F5 model mandolin, are expensive ($100,000 +) and are much sort after instruments that have become associated with Bill Monroe and Bluegrass music. The mandolin “chop” that emulates the back beat of a snare drum is one of the most characteristic sonic signatures of Bluegrass music.
Now, theoretical physicists have often held sway with the notion that there are multiple simultaneous universes that can co-exist. The notion does stretch the mind somewhat but in the world of mandolin music it almost seems that it is a possibility. While the Neapolitan mandolin migrated to North America, underwent physical changes and came to prominence in the hands of unique virtuosos like Bill Monroe, a similar but different transformation was taking place half a world away in Brazil. The mandolin in Brazil probably came out of Portuguese traditions and became rooted in a musical style called Choro. Although contemporary flat backed styles of mandolin are used in Brazil the Portuguese instrument also underwent changes. An extra course of strings was added to a slightly larger body with a wider neck. The result is a five course instrument called a Bandolim (pictured below) that is tuned C G D A E.
North America has Bill Monroe; Brazil has Jacob do Bandolim. As documented in Wikipedia, he was born under the name Jacob Pick Bittencourt (December 14, 1918 – August 13, 1969). He adopted a stage name to reflect the the name of the instrument he played, the Bandolim. He has become intimately associated with Choro, a genre also popularly known as chorinho (“little cry” or “little lament”). This popular Brazilian genre is a musical synthesis of European salon music and Brazilian rhythms. As a perfectionist, Jacob was able to achieve from his band Época de Ouro the highest levels of quality. Jacob hated the stereotype of the “dishevelled, drunk folk musician” and required commitment and impeccable dress from his musicians who, like himself, all held “day jobs.” Jacob worked as a pharmacist, insurance salesman, street vendor, and finally notary public, to support himself while also working “full time” as a musician. In addition to his virtuoso playing, he is famous for his many choro compositions, more than 103 tunes, which range from the lyrical melodies of “Noites Cariocas” , Receita de Samba and “Dôce de Coco” to the aggressively jazzy “Assanhado“, which is reminiscent of bebop. He also researched and attempted to preserve the older choro tradition, as well as that of other Brazilian music styles. Outside of Brazil Choro seems to be under going a surge of interest. The Israeli clarinetist Anat Cohen has recently released a number of new recordings with the Trio Brasileiro. The trio features Dudu Maia on Bandolim; Alexander Lora on Pandiero (the driving Brazilian samba tambourine that is the heart beat of Brazilian music) and his brother Douglas Lora on seven string nylon guitar. Below is a YouTube clip of the Trio and a clip of David Benedict playing a Choro on a more familiar North American style Mandolin. Notice how different are the sounds coming from the Mandolin and the Bandolim. The mandolin seems to have a sharper, more percussive “bite” that fits so well into Bluegrass. The Bandolim seems, at least to my ear, to have a bigger, fuller sound that probably would not work in a Bluegrass setting.
So if you are a mandolin player and find the music attractive you should check out the Mel Bay publication Choro Brasileiro – Brazilian Choro: A Method for Mandolin by Marilynn Mair and Paulo Sa (MB21975BCD). The publication includes a CD.
Poscript: I sent a link of this blog entry to the Hornby Island luthier Lawrence Nyberg to find out if he had any any interest in the Bandolim. As it turns out he has been experimenting with the instrument and has posted the following on his face book page.
Introducing: The Mini-Cittern. The newest in the mando-cittern line-up. Available as a flat or carved-top. Flat-top,…
Every body has memories that float to the surface from time to time. A lot of people have fond memories of their high school and college years, and a million other times that are filled with many pleasant memories. Nostagia has become a great marketing tool and the market place is rife with commercial attempts make money from the emotion. Just stop for a minute and think of the popularity of classic rock, the numerous tribute bands and fading rock stars on their last, and final, farewell tour. I am not immune to the emotion but my favorite nostalgic musical memory has nothing to do with the pop music of my youth. Rather it concerns a particular memory from the time of my immigration to Canada. In 1971 the transport method of choice to get to Canada from Australia was by boat (or is it ship?). In those days air fares were too expensive. I traveled on the P&O ship The Oriana from Auckland (New Zealand) to Vancouver with stops in Suva (Fiji) and Hawaii (USA). The trip was laid back and leisurely and although it was a nice respite from the rigors of road travel in New Zealand to this day I cannot understand why anybody would willingly imprison themselves on a luxury cruise ship. We arrived in Suva Harbor in Fiji on Thursday May 20, 1971.The sights, sounds and smells of Suva were like something out of the past, or perhaps straight out of the pages of a Somerset Maugham short story. After a little wander around town I headed back to the ship for the most memorable part of the day at departure time in the late afternoon. I had met a couple of Canadian Engineers who had been on the islands for a few months and to a man they all expressed the sentiment that they had to get out of there or as they said “they would never leave . This place is paradise”. Similarly, I have a friend, Gordon Rae, here in Cranbrook, who had spent time in Fiji, and any time Fiji came up in a conversation he would get misty eyed and mutter – “every young man should have a Fiji in his life”. Obviously the engineers on the deck of the Oriana that afternoon felt the same way. When the Fijian Police Band on the wharf played “Isa Lei” – the traditional farewell song – there were tears running down their faces. I thought they were going to jump off the ship. If you want to hear a South Pacific farewell song at its emotional peak then there is no better way than from the deck of a ship. To this day any time I hear Isa Lei I get really choked up. Here is the song as played by the Fijian Police Band
You can check any one of many other versions on YouTube but for me the one above is the most evocative. I can still see those Canadian engineers standing on the deck of the Oriana in the late afternoon sun with the tears running down their faces as the tune wafted up from the wharf.
The high emotional content of the song is understandable. In the old days when some one left the islands it was unlikely that they would ever return. Without a doubt it is one of the most beautiful tunes on the planet – bar none.
Here is another less traditional version that was recorded by Ry Cooder. It is good but for me it doesn’t quite match the emotional content of the Fijian Police Band
Saturday April 8, 2017, 7:30pm – SWEET ALIBI at 5768 Haha Creek Road, Wardner.This is the last concert of this season’s Home Routes House Concerts.
It seems that Winnipeg is possibly the geographical center of Canada and at the same time it is the center of Canada’s musical universe. Maybe it is the cold winters that drives everybody indoors to play and appreciate music. Over the years the quality of musicians that have come out of this city has proven to be exceptional. For this last concert, the trio Sweet Alibi – Amber Rose – vocals, guitar, ukulele and a little percussion on the side; Michelle Anderson – vocals, banjo and guitar; Jess Rae Ayre – vocals, guitar, harmonica and a little percussion on the side has once again demonstrated that musicians from Winnipeg are top draw. Most of the music presented was original material written by the trio with an occasional cover of lesser known songs such as Bob Dylan’s Gotta Serve Somebody (it was a new song to me but it maybe better known by everybody else)
Gotta Serve Somebody
You may be an ambassador to England or France You may like to gamble, you might like to dance You may be the heavyweight champion of the world You may be a socialite with a long string of pearls
But you’re gonna have to serve somebody, yes indeed You’re gonna have to serve somebody Well, it may be the devil or it may be the Lord But you’re gonna have to serve somebody
You might be a rock ’n’ roll addict prancing on the stage
You might have drugs at your command, women in a cage
You may be a businessman or some high-degree thief
They may call you Doctor or they may call you Chief
Also there was Khari Wendell McClelland’sSong of the Agitator. It is a song that remembers the Underground Railway of African Americans fleeing from the USA in the mid 1800s. It is a song that, with the current Moslem immigrants illegally crossing the border into Manitoba had some sense of deju vu . “Every thing changes but some things seem to just stay the same”. As per their website – ” The appeal of Sweet Alibi’s sound hinges on their ability to mix elements of folk, roots, and country, then present it in the context of a tightly-structured pop song.” I think that is true. Their vocal harmonies are strong and their spartan accompaniments take the music way outside the narrow confines of current pop/rock music. The mix of the banjo and the heavy vibrato of the electric guitar provides a unique background to their songs and takes them even further away from run of the mill pop music. Three songs that had great appeal where Dark Train, Walking in the Dark and Bodacious (a famous rodeo bull forced to retire because he was way to dangerous for cowboys to try and ride). Here are some images from the evening:
Jess Rae Ayre Michelle Anderson
So ends the marvelous musical series for this past winter. The musicians and the venues were were exceptional and the weather, at times, was a little bit of a challenge but that comes with living in the back blocks of Canada. I wish to thank the hosts, Van, Shelagh, Patricia and Gordon for opening their homes for these wonderfully intimate musical concerts and for providing the wine and treats. I am looking forward to next winter and, hopefully, another Home Routes Concert Series.
Certain musicians, or groups of musicians, often have “a lock” on a genre or a particular musical approach. For instance Blue grass and old timey musicians own banjo music. After all they virtually invented the instrument and the appropriate styles so it only stands to reason that they should “own” banjo music. Similarly, for a multitude of reasons that I could bore you to death with, “Classical Guitarists” have a lock on Guitar Duets, Trio and Quartets. “The Brazilian guitar duo João Luiz and Douglas Lora are one of the most exciting and recent chamber groups to emerge on the music scene. These two talented young guitarists combine energy and technique with a dazzling musicality………. the duo shows maturity, talent and perfect technique in their interpretations and executions of intricate Brazilian rhythms……. Their sonority is exceptional, robust and varied and their whole repertoire is played with verve and enthusiasm, with stylistic balance and sensitivity …….. Excepts from Wikipedia – Amen to all of that.
Classical music, and classical guitar may have a reputation for being stuffy, “uncool” and uninteresting. I think this piece, Bata Coxa, by the Brazilian composer Marco Pereira (born 1950) played by this very energetic duo should dispel some of those notions. CDs by the duo are expensive and hard to come by…… thank God for YouTube for giving me a chance to experience their music.
Spellbinding!!! Yep, that’s the word for the musicians and the performance. This is The Sultans of String third tour of the East Kootenays and their second performance at Centre 64. On their last trip to the area in February 2014 they performed with the Symphony of the Kootenays. Prior to that in January 2009 they performed here in Kimberley at Centre 64. They are currently on their 10th anniversary tour. Of course things do change and the musical configuration known as The Sultans of String has changed and evolved over the years. Having said that Drew Birston on electric bass and Chris McKool on 5 string violin are the constants in the ensemble. Back in 2009 the guitarist Eddie Paton was a member and somewhere along the way the ensemble enlisted the aid of Kevin Laliberte and his flamenco/rhumba guitar in developing the signature sound of The Sultans. The current core of ensemble includes Drew Birston, Chris McKhool and Kevin Laliberte. Depending on the tour and circumstances the core ensemble is augmented with the addition of Cuban percussion, Oud (the Arabian ancestor of all guitar like instruments), Ney (Middle Eastern end blown flute) and for this tour Anwar Khurshid on Sitar and Jeff Faragher on Cello. The signature sound of the ensemble is a genre-hopping mixture of Celtic reels, flamenco, Gypsy-jazz, Arabic, Cuban, and South Asian rhythms all played with their trademark brand of virtuosity.
They kicked off the evening’s music with their original tune Enter the Gate with its wonderful melodic mix of violin and Sitar backed with a flamenco flavored guitar rhythm and bass line. Neil Gow’s Lament for the Death of his Second Wife is a well known Scottish lament written by the master Scottish fiddler Neil Gow way back at the beginning of the nineteenth century. It was nicely paired with the Rakes of Marlow. There is some dispute about this second tune. Normally it is considered a standard Celtic tune but Anwar insists that he was taught the tune way back in his youth as a traditional Indian melody. Most of the Sultan’s music is instrumental but there was room for for the likes of Bob Dylan’s Blowing in the Wind and Neil Young’s Heart of Gold. Throughout the evening they also played Luna the Whale, Hills of Green, Josie, Stomping at the Rex (a swing tune) and a sitar tune about snake charmers, an original about Nova Scotia’s Sable Island and my favorite Road to Kfarmishki. I felt that this was some sort of Turkish tune in an odd time signature (11/8, 12/8 , 14/8 or something like that) but the bass player Drew informs me that it a 4/4 tune with repeated two bar phrases. Oh well, I am not often right so I guess I am wrong again. Never-the-less it is a wonderful hypnotic tune that I really like. Here are some more images from a night of spellbinding music.
The patrons and the musicians would like to thank the Stone Fired Pizza for the food, A B&B AT 228 for the accommodations, Ray for the sound and all the organizers and volunteers that make the concert series possible.
Some Musical Notes:
Drew Birston plays a 1978 Fender Precision Bass.
Chris McKhool (no he is not Scottish) plays a five string violin tuned C G D A E (low to high) with an installed pickup and effect pedals. It is slightly larger than a conventional violin and allows the musician to cover the full sonic range of both the traditional violin and viola.
Kevin Laliberte plays a carbon fiber Blackbird guitar with a somewhat unconventional shape. From their web site: The Blackbird Rider Nylon’s one-piece, carbon fiber construction with hollow head, neck and body allows the entire guitar to resonate—–enhancing loudness, bass and sustain. You will never again face humidity or durability issues with the Rider carbon fiber nylon string guitar. With the optional Neck-up guitar accessory, your Rider is securely anchored– no footstool required! Plug it in and the optional MiSi or RMC individual string pickups accurately amplify your dynamic acoustic tone. BUILD TIME EIGHT WEEKS.
Anwar Khurshid plays a traditional Indian Sitar with installed pickups. Anwar tells me the instrument was built in 1479.I don’t know if I believe him. If it is true then it is in remarkable condition.
Jeff Faragher plays a standard symphonic cello with installed pickups and effect pedals.
Cello player Jeff Faragher does not need an introduction. He is probably the best known professional musician in the Kootenays. He is the musical director and conductor of the Symphony of the Kootenays. He is a classical cello soloist and teacher of the first order as well as a performer in number of classical chamber music configurations. And, if that is not enough he the driving force behind a “celtic mish-mash” called Breakwater. This group plays in a somewhat Celtic style but, in Jeff’s own words, it is “a mish-mash” of everything from traditional fiddle music, classical, jazz, pop, film music and pretty well anything musical that comes to hand. Over the past two years the group has toured the region extensively. First in a configuration that included Aurora Smith on violin; Jeff Faragher on cello; Ben Johnson on drums and percussion and Rob Fahie on double bass. This was a tight, exciting and well balanced performing unit. That was last year and, of course, as always, things move on. Aurora moved to Victoria; rehearsal travel became an issue for Ben (he lives on the remote east shore of Kootenay Lake); Jeff is now splitting his time between Nelson and Calgary, and Rob, although still available, has a number of other projects on the go. To keep the “mish-mash” mix bubbling Jeff has enlisted the aid of two top flight Calgary musicians. James Desautels has taken over the fiddle chair. James is a full time professional musician and teacher with many, many years experience in a multitude of circumstances and geographical locations including residency in Austin, Texas. Similarly, Rob Maciak is also a full time professional musicians and is best known as a percussionist and teacher. He is currently on the faculty of Mount Royal College in Calgary. Although, in Breakwater Rob plays drums and percussion, he is also an outstanding classical performer on tuned percussion (tympani, chimes, marimba and the like). He performs as a marimba soloist in classical symphony orchestras. He will be the featured soloist with the Symphony of Kootenays this fall performing Neg Rosaaro’s Concerto #1 for Marimba and Strings.
There is an old notion that classical musicians cannot play outside the box. That may have been true sixty or more years ago but now that is no longer the case. Often a sound formal music education is a basis to move onto the exploration of a whole plethora of musical options. A quick research of the resume any number of of top flight musicians will reveal an extra ordinary number who have formal academic and performance credentials out the ying-yang. All musicians in this ensemble would fall into that category. This new incarnation of Breakwater is different from the first edition. For a starter it is a trio rather than a quartet and while it does not have the mellow polish of the first edition it does have more of an edge and a higher entertainment quotient. The current repertoire draws from the same arrangements and sources but with a few more entertainment motifs thrown in for good measure. The “mish-mash” of Bach’s Jesu of Man’s Desire overlaid on top of the the old classical soprano tear jerker Ave Marie is still there to give new life to a couple of classical staples as the trio seamlessly slides into the old fiddle tune The Ash Plant. Other songs and tunes during the evening included Jeff Faragher’s version of the maritime ballad Song of the Mira coupled with the fiddle tune Stolen Apples; Jeff’s version of this ballad is probably one of the best around. James Desautels did more than justice to the old American fiddle show pieces The Orange Blossom Special, The Arkansas Traveler and The Soldiers Joy and a series of waltzes that included the Tennessee Waltz and the Shannon Waltz. As promised, the evening’s “mish-mash” contained a little bit of everything from Beethoven through some fiddle tunes in 7/8; Bob Dylan’s Blowing in the Wind and Running Through Tall Grass; Natalie McMaster’s Volcanic Jig; the traditional Southern Song There is more Love and my all time favorite fiddle tune The Pelican Reel. It was quite a night of good food, good cheer and great entertainment and one that I hope will be repeated at some time in the not too distant future. Here are some images from the night.
I say it way too often but I figure it needs to be said. “There’s more to music than three guitars and a back beat”. Just a cursory review of the current “music business” reveals that the majority of music performed today conforms to that criteria of “three guitars and a back beat”. It is what is popular and that’s what people and the industry want, so what? I just think it is a shame because there is so much more out there. One of the beauties of the Internet and YouTube in particular has been the creation of a platform for musicians and artists who are completely outside the current popular commercial paradigm. Sure there are a lot of performances on YouTube that conform to the commercial norm but it doesn’t take too many “accidental” clicks to come upon some really odd ball and interesting performances. Musicians busking on folk instruments on the streets of Istanbul; ethnic performances from all over the world; modern classical composers; jazz performances and esoteric mixes of just about anything. My case in point at the moment is marimba music.
From the pages of Wikipedia – “The marimba is a percussion instrument consisting of a set of wooden bars struck with mallets to produce musical tones. Resonators suspended underneath the bars amplify their sound. The bars are arranged like the keys of a piano, with the groups of 2 and 3 accidentals raised vertically, overlapping the natural bars to aid the performer both visually and physically. This instrument is a type of Idiophone, but with a more resonant and lower-pitched tessitura than the xylophone.
The marimba was developed in Central America by African slaves, and descended from its ancestral African Balafon, which was also built by African slaves. Marimba is now the national instrument of Guatemala.
Modern uses of the marimba include solo performances, woodwind and brass ensembles, marimba concertos, jazz ensembles, etc. Contemporary composers have used the unique sound of the marimba more and more in recent years.
A player of the Marimba can be called a Marimbist or a Marimba Player.”
Marimbas are not really portable instruments. They tend to be large and cumbersome. They are not instruments that you can sling into a backpack and carry around on a subway. There are more portable versions around but they do not have the quality and caliber of the traditional marimba . For instance, the Vibraphone in Jazz circles is a similar instrument that is played in much the same fashion as a marimba but has a completely different vibe (pun intended) . In a cursory exploration of Marimba performances on YouTube I have found some enlightening and entertaining performances. Here are a couple of selections:
It is as good a place as any to start an exploration of Marimba music. It is a well known Classical piece that most people will instantly recognize. The performer looks like he should still be in high school. What I find fascinating is his use of four mallets and the dexterity required to play the constantly changing chordal voicings.
It is a bit of leap to the next, rather long selection, of a composition by the modern Classical Mimimalist composer Steve Reich. Sure it is repetitious, and that is the nature of the music, but within the monotony there is a lot happening. A friend of mine described it as a form of Chinese Water Torture. Of course I disagree. It is one of my all time favorite pieces of music.
On a much grander scale is Steve Reich’s Music for 18 Musicians. To listen to this music one requires an attention span of more that three minutes and one really needs to recover the lost art of really listening to what is actually going on.
I know, I know, enough is enough. Time to move on.
HOME ROUTES HOUSE CONCERT – THE BOMBADILS Wednesday November 23, 2016, 7:30 pm at 8163 Gibbons Road Mayook
In a nutshell this was a concert of brilliant music.
Without a doubt one of my favourite recordings is The Lonesome Touch (Green Linnet GLCD 1181) featuring that marvellous Irish fiddle player Martin Hayes and his stellar accompanist Dennis Cahill on guitar. The recording has great sound, great atmosphere, great tunes and as a duo they are absolutely rock solid. Dennis Cahill’s accompaniments are a model of how it should be done. I never thought I would ever have the opportunity to attend a concert and hear music of that caliber. I was wrong. The Home Routes House Concert of the Bombadils was more than a step above that particular recording. As a duo Sarah Frank (5 string fiddle, clawhammer banjo and vocals) and Luke Fraser (guitar, mandolin and vocals) are also absolutely rock solid. Sarah started on violin at age 4 and with Luke graduated from the McGill University Music Program. Sarah majored in classical violin where she shared classes with Cranbrook’s Sarah Aleem. Luke majored in Classical guitar. The program for the evening was a mixture of traditional and original Canadian songs and tunes with great vocal harmonies, fiddle, guitar, mandolin and banjo accompaniments. They kicked off the evening with one of Sarah’s original tunes called Hazeldean. This was followed by Luke’s Train in the Night. Other tunes and songs included The Fountain, The Feel Good Times Set, the Newfoundland Sea Shanty Heave Away, Doc Watson’s The Long Journey, and an original song written by Caroline Spence called Mint Condition. The final tune in the first set was called Squirrels Rule the Day and Racoons Rule the Night and it featured some marvelous instrumental interplay between both musicians that had them slipping in and out of spectacular unison playing. Playing in unison is, in theory, a simple musical exercise but when played up to tempo between some freewheeling solo excursions it is exciting and impressive.
For the second set, in response to some sheet music from the audience, they sight read the Swedish tune Homage Till En Spelman that they then morphed into one of their regular Norwegian tunes. The performance was flawless. Through out the rest of the evening they played more of the same style of songs and tunes. When they played Black is the Color of My True Loves Hair there was some lively banter in the audience over it’s origins. Was it Scottish or Irish? As it turns out it was neither. It was composed by the American John Jacob Niles in the early days of the twentieth century.
Cranbrook audiences over the last little while have had the opportunity to experience some of the very best musicians that the Celtic world has to offer. Performances have included the Cape Breton groupCoig, Ireland’s Lunasa, both at the Key City Theatre, Blackthorn, Breakwater, Lizzy Hoyt, Jocelyn Pettit Band and now, on this particular evening, in this wonderfully intimate setting Montreal’s The Bombadils. It was a unique opportunity to hear the dynamics and tonal nuances of these two superb musicians. Thanks Glenn and Patricia for hosting this wonderful concert. Here are some more images from the evening.
A small technical Note: Both musicians play superb instruments. Sarah plays a five string fiddle tuned CGDAE (from the bass to the treble side). Effectively it allows Sarah to cover the full range of the violin and the viola on a single instrument. Luke plays a Collings Dreadought guitar and a Michael Heiden mandolin. Michael, who is one of the world’s great luthiers, has a work shop just down the road from here in Creston. Here is the manuscript for Homage Till En Spelman that was thrown into the arena by a member of the audience:
Now, as I said it was a brilliant concert and you had to be there but if you couldn’t make it here is a taste of what you missed:
STUDIO 64 JAZZ AND BLUES CONCERT SERIES – THE 6L6S Saturday November19, 2016, 8pm
Studio 64 has done it again!. They concluded the fall Jazz and Blues Concert series with a crack-a-jack blues outfit – The6L6S featuring Mike Watson – guitars and vocals; Tommy Knowles – Bass Guitar; and Kent MacRae – Drums). This band came out of Calgary to especially warm up this frosty night in Kimberley. They are a full on LOUD electric band with obvious affection for the roots of the music and featured many songs from deep within the acoustic blues traditions of the 20s, 30s, and 40s. They included their special interpretations of songs by Leadbelly, Blind Blake, Robert Johnson, Elmore James (Dust My Broom) Willie Dixon (Diddy Wha Diddy) Cripple Clarence Lofton (Strut that Thing), Little Walter / Muddy Waters (My Babe) and a couple of early rock and roll classics including Maybe Baby and a tune by Link Wray. It was a boisterous night with Studio 64 patrons adding an appropriate touch by “dancing in the isles”. It was a fitting conclusion to another very successful concert series. For now we just have to hang tight until spring rolls around with another Studio 64 Concert Series. Here are some images from the night: