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Mike Clark Blues Band at Studio 64

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The Mike Clark Blues Band at Studio 64 in Kimberley

Saturday November 19, 2022 – This was the last concert of the 2022 Fall Jazz and Blues Concert Series.

For a Blues artist being born and growing up in the “Delta” is almost a stamp of authenticity. Well, Mike Clark really is a ”Delta Blues Man” but not of Mississippi river fame. Originally he hails from the Fraser River Delta in Richmond B.C. His musical and geographical domain isn’t one of humid heat, flat lands, cotton fields and Afro-Americans slaving under a hot southern sun. No, it is more like cool temperate weather conditions peopled by South Asian immigrants picking strawberries and blueberries all within reach of the towering snow-capped coastal ranges of British Columbia. The work is still back breaking but without the violent racial overtones of the American South. This is not the usual recipe for Delta Blues. And yet, despite this more genteel environment of his youth, Mike has managed to develop a searing blues based tenor sax and vocal style that would not be out of place in Memphis or New Orleans.

The Studio 64 Organizing Committee managed to pry the Mike Blues Band from it’s home town hang out in Mickey’s on 12th Avenue in Calgary to perform in the wonderful performance space of Studio 64 at the Kimberley Art Council building in down town Kimberley. This band included veteran blues artists Mike Clark on Tenor Sax, Guitar and Vocals, Don Muir on keyboards, Brian Pollock on Bass, Tom Moon on Drums and, holding up the youthful end of the age spectrum, Brett Spaulding on lead Guitar. Brett’s use of guitar pedals was outstanding. This is a solid working blues band with a good repertoire of Willie Dixon tunes (Spoonful, Hoochie Coochie Man), Al Green’s Take Me to the River, some James Brown (I Feel Good), a Ray Charles tune, The Crusaders (Put It Where You want It) and a number of original songs that included Dark Waters and Down Where the River Meets the Sea. All great songs spiced up with searing tenor sax solos, rollicking keyboards and very tasty lead guitar lines  that was unpinned by the solid rhythm duo of Tom Moon and Brian Pollock. As I said this is a solid working band that if it returns to Kimberley should not be missed.

For this wonderful night of music, we should thank the Stage 64 Organizing Committee and its Volunteers. Also the corporate sponsor  Overtime Beer Works, the City of Kimberley and last but not least the chair of the committee Keith Nicholas who is retiring as the chair person. His replacement will be Peter Kearns.

Here are some images from a rollicking night of music……..                        

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Black Umfolosi at Centre 64

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Black Umfolosi – The Second 2022 Fall Jazz and Blues Concert; 8pm Saturday, October 29th, 2022.

Some years back I stumbled onto a YouTube video of Bonnie Raitt and slide blues guitarist Roy Rogers performing at a Austin City Limits event. As expected it was a fine performance. But what was unexpected was the second act of the evening performed by a musician from Zimbabwe. Bonnie and Roy are, in essence, blues musicians and up until this particular performance I had never fully realized how much “a downer” the blues can be. Essentially it is “victims” music and has an aura of depression, repression and “Oh Woe is Me”, “My man treats me awful mean”, etc.   When the Zimbabwean musician stepped up to the microphone all that depression disappeared. With sinuous bass lines and dancing rhythms there was a monumental shift from depression to joy and, although the songs were in another language, they sounded so happy that one could only feel the same way. When Bonnie and Roy returned to the stage for their second set the music went crashing back down  down into instant depression. I have never been able  to listen to the blues the same way since. From that time on I have paid attention to the multitude styles of African music and, regardless of geography, that sense of joy and community  seems to ring through all African music. When I heard that that the Zimbabwean cappella group Black Umfolosi was going to perform in the newly renovated Centre 64 Theater in Kimberly it would be a rare opportunity to experience music that, in this part of the world, is way out of the ordinary.

“Black Umfolosi are a multi-discipline performing arts group, based in Bulawayo, Zimbabwe. The group began as a means of entertaining themselves while still at school in 1982. They have since become an internationally acclaimed harmonic cappella singing and traditional African dance group The original six members have developed their skills and their organization to a point where the now 18 members provide a multitude of services in the performing arts industry in Zimbabwe and are internationally. compared to the likes of Lady Smith Black Mambazo of South Africa. Black Umfolosi, tour extensively from their homeland Zimbabwe to the UK, Australia, Asia, Europe, Canada and the USA. They have released a number of recordings that feature the singing styles of Imbube, Mbaganga and Township songs. Their dynamic live performances showcase the traditional dancing styles of the Southern African region as well as the more contemporary styles and movements they have developed themselves. Black Umfolosi is much more than a performing group; they are active in training others, particularly the youth, in dance and voice. They try to identify and develop up and coming groups and mentor them along their path to success. They provide workshops and residences in dance, voice, theater, costume design, poetry, mime and also address various issues affecting society today. In short, Black Umfolosi are a community driven organization aiming to give back to people what they themselves have received. The group run various outreach programs both at home and internationally, and does a lot of development educational work with universities, hospitals, prisons, community centers and other arts institutions.”   ………. WIKIPEDIA.

Kimberley was the first stop on the Canadian tour and this was the first time the two ladies had been out of Africa. After 45+ days in the UK and the USA their fondest wish for their time in Canada is “to see snow falling from the sky”. In the photo below the featured musicians from left to right are  …….

  • Sotsha Moyo (Lead)
  • Sandi Dube (Alto/Soprano)
  • Thomeki Dube (Tenor)
  • Luzibo Moyo (Alto)
  • Austin Chisare (Bass)
Here are images from an evening that started with a warmup (note the jackets and sweaters) in “The Green Room” followed by two sets on the main stage that included some active participation by members of the audience.
In The Green Room
                         
The First Set
          
  The Second Set
                        
                     
Audience Participation
 
The Gumboot Song
     
The Music
Black Umfolosi sing in a vocal style from southern Africa called Mbube (Zulu for Lion). It is a style of music that was developed amongst the tribal migrant workers in Southern Africa in the 1930s and on up to the present time. It is just another example of when people are separated from their main cultural roots then they just go on and create and build a “new” culture. It happens all the time and is probably happening as we speak in ways of which we are unaware.  Just think back, where did Ragtime, Jazz, Calypso, Salsa, Reggae,  etc come from? The most striking feature of the Mbube is that it is entirely vocal and  the most well known song in the Mbube style is When the Lion Sleeps Tonight. And everybody knows that song. There is no instrumental component in Mbube music. It is described as “homophonically rhythmic unison vocals” that are used to create intricate harmonies and textures.  The nearest to an instrumental accompaniment is the slapping of the “gumboots” in the appropriately name Gumboot Song.  Although some of the performances in the concert were in English the majority of the songs were sung in Nguni (a Zulu dialect) and the performers provided enough commentary to inform the audience of the content and meaning of the songs.
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Another brilliant concert and once again thanks should go to the Overtime Beer Works, The Kootenay Credit Union, The BC Touring Grant and to the Studio 64 Committee and volunteers that have made this concert possible.
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postscript: Some video clips of the group

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First Concert of the Kimberley 2022 Fall Jazz and Blues series

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WIL & Heather Gemmell – Centre 64 Gallery and Stage 64 performing space. 8:00 pm, Friday, September 30, 2022. This is the first show of the fall Jazz and Blues Concert Series. The featured act was the Indie Folk-rock duo WIL from Calgary.

The evening’s entertainment was kicked off by Heather Gemmell in the gallery. Over the years this local performer continues to musically grow and develop. At the beginning of her musical career, she was a singer / guitar player in a kind of folksy mold. She morphed into a “Blues Babe”, “Rocker Chick” (with a full-on electric guitar band), “Country Girl” (in the acoustic Rosie Brown Band), “Singer Songwriter” and, now in this instance,  to a rootsy banjo playing solo act.  Her acoustic set of vocals, original songs and clawhammer banjo tunes was a perfect fit for the gallery.

                  

In Studio 64 WIL, William Mimnaugh on acoustic guitar and vocals was accompanied by drummer Keith Gallant though the two sets that rocked the house though out the evening.

     

The organizing committee of the Kimberley Arts Council would like to thank the volunteers and the sponsor Overtime Beer Works for another successful concert.

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Black Cherry Perry’s Mississippi Medicine Show

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Black Cherry Perry’s Mississippi Medicine Show – Stage 64, The Final show of the 2022 Spring Jazz and Blues Season, Friday 2022-06-17

Perry Gangur, in his own words, this is how the Black Cherry Perry’s Medicine Show evolved: “In 2003, I had a life changing experience. 2003 was the 100th anniversary of WC Handy discovering and then publishing blues music. I took a trip to the Mississippi Delta, just south of Memphis, to see it all for myself. I met a young gypsy woman in West Helena, Arkansas who completely changed everything for me. She told me about my past, my present and what my future could hold. My challenge was to use my new path to heal myself by immersing myself into my music and performance, and to help heal others along the way.

“In 2005, I met ailing Canadian blues veteran Back Alley John, in Calgary Alberta, who took me under his wing. In addition to harp lessons, Back Alley let me sit in with him at his jams and gigs. After a while he was too sick to host his jam at the Point on 17th. I was asked to take it over.”

That same year Black Cherry Perry’s Mississippi Medicine Show came into being and has developed into a dynamic original recording act that reaches back into the heart of the Mississippi blues of the last century. This a music that is so dark and powerful that it has virtually changed the face of modern music. Where would we be without the music of Robert Johnson, Bukka White, Son House, Skip James, Mississippi John Hurt and Elmore James? The blues stars were and are big time entertainers. Audiences are looking for a show. They want to be entertained. They want to let their hair down, and they want to cut loose. In Black Cherry Perry’s Mississippi Medicine Show we have some theatrical background, and we can’t just stand there. The music takes over us… It’s like we’re men possessed”.

For the Studio 64 show Perry enlisted the help of guitarist Quintin Rybuck, Willy Garcia on drums and the “goto” Calgary bass player Tommy Knowles. The idea was to not just collect a group of fine blues musician together but to “put on a show”.  To that end the evening was a success. The opening song was the appropriately named Mississippi Medicine Show. Perry dedicated the tune Bar-BQ Bob to a long time friend in Vancouver. Other songs included T-Bone Walker’s Shuffle, an original tune called Mama’s Kitchen and a magnificent cover of the classic J.J.Cale’s They Call me the Breeze with a great open guitar riff and a chuga-chuga rhythm and bass line.

They Call me the breeze
I keep blowing down the road
Well now they call me the breeze
I keep blowing down the road
I ain’t got me nobody
I don’t carry me no load

Other tunes included Where’s there’s Smoke there’s Fire, Choke the Chicken, and  Disco Blues.

                 

This concert was the end of the Spring Season, and it is now time to turn our thoughts and expectations to the coming fall season. As always special thanks should go to the staff and volunteers that make the series possible and we also need to thank the new sponsors Overtime Beer Works.

Red Dirt Skinners at Studio 64

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Studio 64 (Kimberley) Spring 2022 Jazz and Blues Concert Series – Red Dirt Skinners.    – 2022/05/13,8pm

This was the original poster for the Red Dirt Skinners concert  but as we all know the pandemic has ruined many a plan of mice and men and here we are two years further down the road………..

Music is a performance art that, at its best exists at the moment of creation. It requires performers (obviously) and an audience in a physical environment that promotes the interaction between the two. Given the right mix the experience can be transcendental. During the pandemic there has been no shortage of downloadable digital music. Music is just about every where, but live performances have virtually disappeared. This has been extremely hard on performers. Incomes have disappeared and the emotional feed back required for the self actualization of the artist is non-existent. That has been the situation for over two years but now appears to be becoming to an end. The Pandemic is not over but restrictions on social and cultural gatherings are easing to the point where live music is emerging from its enforced hibernation. The Kimberly Arts Council Spring Jazz and Blues Concert Series is part of the renewal of the live music scene in Kimberley. The Melody Diachun Quartet concert in April was the very first in the 2022 Spring Jazz and Blues Concert Series. It was a very tentative step with only about 40 patrons in the audience. In this, the second concert in the series, the audience has been  increased to around 75. It is anticipated that for the third and final concert in the series the audience numbers will be back up to full capacity.

Keith Nicolas, on behalf of the Kimberley Arts Council, has been negotiating with The Red Dirt Skinners for over two years and after numerous cancellations and postponements, The Red Dirt Skinners (Rob Skinner – guitar, vocals and foot percussion; Sarah Skinner – back up vocals and soprano sax) finally made it to Kimberley for a much-anticipated concert. “The Red Dirt Skinners are an Anglo-Canadian multi-genre duo, who formed in 2011”. They had been very active in Britain and Europe before their “accidental” relocation to Canada about five years ago. As the duo explains it, they were contacted by the Stratford Festival for an engagement. It wasn’t until the festival organizers sent them airline tickets that they realized that it was Stratford Ontario and not Stratford, England. Driving to the gig would not be an option. They ended up doing 12 shows over 17 days. During that time they were exposed to some Canadian cultural norms such as Bear Spray and a whole new understanding of distances between gigs.  The engagement was so successful that the duo started looking at the possibility and final relocation to Canada.

Patrons may have a hard time categorizing their music. Based on the Kimberley performance I suggest they have a very unique blend of a “classic rock” vibe, singer/song writer sensibilities with jazzy melodic enhancements provided by the soprano sax. Their acknowledged musical influences include Supertramp, Pink Floyd, David Bowie and Queen.  Their repertoire is mostly original material with the occasional cover songs. As with the best of song writers their songs and stories have come out of a wealth of personal encounters and experiences. Currently their use of soprano sax in a rock environment is unusual. The only other similar use of the soprano sax that I can recall is Branford Marsalis performing with Sting in the mid 80s and 90s.

The evening kicked off with an original song advising young performers to follow their muse (“Why Don’t you listen to your own dreams?”). What followed was a number of songs that included an ode to the pandemic A Life on Pause; Hey Crawford – a nod to a long-time teacher they met in Ontario; Your Hearts Not Here – a song lamenting dementia; Bad Apple; Brighter Days Ahead; Blossoms and Rain (a day in Brussels); Lay Me Down; Day Break and a cover of David Bowie’s Space Oddity (“Ground Control to Major Tom”). For me the best story of the evening was “Frank’s” persistent request for Pink Floyd’s Comfortably Numb. The final song of the evening, Feet of Clay, celebrated Fionna Campbell’s eleven-year 20,000 mile walk around the world.

Here are some images from the evening ……..

    

     

Once again thanks must go to the Kimberley Arts Council,  the organizing Committee and the volunteers who made the evening possible. In keeping live music, well “Live”, they have stepped up to the plate in these difficult times. Thank you, Thank you, Thank You.

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POSTSCRIPT:

Here is a Youtube video that I think captures the essence of the Red Dirt Skinners in performance. It is a cover version of Dave Bowie’s Space Oddity. The vocals are spot on, the guitar is nice and crisp and the soprano sax intro and solo has a nice wailing aura. I have never been a fan of Dave Bowie’s music but after hearing this version perhaps I will have to reevaluate my opinion of his music.

Here is another couple of clips:

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Dani Strong – A Reformed Trombone player

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The great 12-String Guitar virtuoso Leo Kottke started out his high school musical career as a trombone player  and, for whatever reason, he later switched to guitar and the world became a better place. Similarly, Dani Strong also started out in high school on trombone. I believe her father had other ideas and gave her a guitar. Once again, the the world is a better place. I have nothing against trombone players but I imagine it is hard to develop your song writing skills on a trombone. Dani moved to the Cranbrook area about 18 months ago and, between tours and performances, she works at the Top of the World Ranch out near Fort Steel. Apart from her day job Dani is cruising under the radar as a country music artist but, in fact, she is much more than that. She is a very talented  singer / song writer. She avoids all the usual cliches and tags of country music and does what all good writers do. She writes about what she knows. With the exception of a cover of Otis Redding’s Dock of the Bay she presented an evening of  original material. Accompanied on guitar and keyboard she played such songs as Run to the Hills, Walk the Mile (Top of the World Ranch), Dirt Road Mountain, Wishing Well, Daddy Called me Pumpkin, Gold Fever, Ashes, Out of Darkness, Mrs Jones, What You Need, Free to Be, Healing, etc. There was not a gin soaked lyric or truck driving song in the whole batch. That’s not entirely true. I think a truck was mentioned in one song. With her stage patter Dani brought the whole package together for a completely entertaining evening. Singer / songwriters always run the risk of bombarding their audience with unfamiliar lyrics and tunes. First and fore most, a good song is a story and sometimes the back story needs to be presented so the audience has a context to allow them selves to be immersed in the song. With lots of stories, dark moments and humor Dani delivered context in spades.

 

      

It was a sold out crowd. So much so the organizers had to move the show from Studio 64 to the larger space upstairs.  Once again thanks to Keith, Ray and the volunteers who made the evening possible. A special thanks goes to the new guy on the lights. He did a superb job.

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Fisher Peak Winter Ale Concert Series – 2020

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FIRST CONCERT OF THE FIFTH SEASON – January 22, 2020

OPENING ACT – TALL TIMBERS featuring Drew Prinn on vocals; Ken Vargas on guitars and vocals; Landon Vargas on guitars, Ukulele, congas and vocals.

         

MAIN ACT – KOOTENAY LATELY featuring Pam Ruby on vocals; Theresa Reichert on upright bass; Bryan Reichert on guitar and Chad Andriowski on drums and backing tracks.

        

    

Thanks must go to the organizing committee of Fisher Peak Performing Arts Society, Key City staff and volunteers and all the sponsors of this series.

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SECOND CONCERT OF THE FIFTH SEASON – Wednesday February 19, 2020

OPENING ACT –  Douglas Francis Mitchell: Vocal, Banjo, Guitar and Songwriter extraordinaire

Over the years Canada has been blessed with many, many singer/song writers who often defy pop culture expectations to produce songs and stories that entertain and truly document the extraordinary richness of the Canadian cultural mosaic. To the list of Gordon Lightfoot, Valdy, Murray McLauglan, Ron Hynes, Stan Rogers and others we can now add the name Douglas Francis Mitchell. Just the name of his songs tells a story. Heiden Guitar  pays homage to a recently acquired instrument from the master Creston Luthier Michael Heiden; Rocky Mountain View is a happy reflection of local geography; Open Happiness  and ode to demon drink (Coca Cola); Laughter of the Heart, Three Chords and the Truth, Change of Pace  and the comic masterpieces Plumber Troubles, Prairie Oysters and Sibling Rivalry. With his songs and stories  this open act was a tough act to follow.

 

MAIN ACT – CARMANAH – all the way from Vancouver Island with a musical mix that I can only describe as Van-Isle Reggae (what ever that means). The band featured Laura Mitic on guitar, vocal and fiddle; Lo Waight – back up vocals and percussion; Mike Baker – Keyboard and vocals; Pat Ferguson – guitar and vocals; Jamil Demers – bass and Graham Keehn. They presented a program of mostly original material.

   

  

   

   

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POST SCRIPT

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TAKE 4 at Soul Foods

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Thursday 2019/12/19, 7pm

Piano players and, to a lesser extent, guitar players are lucky. Without the need of having any one else in the room they can sit down and play unaccompanied music. Depending on their individual skill level they can do it all. Melody, harmony, rhythm, dynamics and sonic shadings. It’s all there under their finger tips. Horn players, woodwinds, string players, drummers and bass players are not that fortunate and usually have the need for other musicians in the mix to complete the musical picture. At an individual level that is a drawback but it does force those musicians into ensembles that can go beyond the limitations of individual solo performances. One such musical configuration is the jazz combo and lucky for us in Cranbrook-Kimberley area we have been recently blessed with another Jazz group. TAKE 4, featuring Randi Marchi on trumpet, fluegelhorn, valve trombone, guitar and vocals; Jim Cameron on electric bass; Steen Jorgensen on drums and tenor sax and Tim Plait on piano. All of these musicians are locals. Some, Randi Marchi and Tim Plait, have been away to other parts of Canada and the world and have returned to the Kootenays and our little slice of paradise. The group is newly formed and, I believe, this is their second engagement. For well schooled musicians such as these the advantage of playing jazz is that there is a vast standard repertoire of tunes that players can easily access. From simple tunes way up to very technical, and very complex music there is a lot of music out there to explore. Last Thursday night at Soul Foods the group served a varied mixture of tunes that included Beginning to See the Light, Satin Doll (Duke Ellington’s masterpiece), Summertime (from George Gershwin’s Porgy and Bess), Blue Skies, King of the Road ( Roger Miller’s 1964 Hit song), All of Me (written in 1931), Beyond the Sea (Bobby Darin’s 1959 hit) and my all time favorite, A Day in the Life of a Fool, or as I prefer to remember it as, Manha de Carnival (Morning of the Carnival) from the magnificent 1959 Academy Award winning film Black Orpheus. This film introduced western audiences to the wonders of Bossa Nova and the music of Antonio Carlos Jobim and Luis Bonfa.The second set kicked off with The Way You Feel Tonight, Don’t Get Around Much Anymore (it is a 1940 classic by Duke Ellington originally called Never No Lament), and Quando, Quando, Quando ( originally a 1962 Italian Pop song written in the Bossa Nova Style).

Here are some images from the first set:

                     

Towards the end of the evening Take 4 was joined on stage by Randy Tapp on tenor sax and Shindo Murata on valve trombone to play the tunes Flip Flop and Fly, Route 66 and Van Morrison’s Moon Dance. During these performances a young musician from the audience sat in on drums while Steen Jorgensen moved up front to join the horn section on tenor sax. For me the resulting sound brought back memories of the magnificent Gerry Mulligan Concert Band recordings from the 1960s. Bobby Brookmeyer’s valve trombone was part of the signature sound of that band.           

Soul Foods seems to have become a hot bed of live music with live performances every Thursday evening 7-9 pm.

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Dirk Quin – Big City Jazz at Stage 64

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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

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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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