Category: Review

Friday Night Blues Jam feat. Mike Sedgewick Black Swan Tavern

Friday Night Blues Jam feat. Mike Sedgewick Black Swan Tavern

The Friday Night Blues Jam is hosted by the team of singer Robin Hutchison, and guitar player, Mike Sedgewick. The origins of the jam can be traced back to 2016 at a small bar in Toronto’s Beaches area called The Peppery Cat. Within’ a few months, they began to develop a unique brand of high level musicianship, fostered an environment of friendly and welcoming community, and built a reputation as one of the best places in the East End to catch authentic blues on a Friday night. It was not uncommon during that time to catch such guitar greats as Tony Springer and Frank Cosentino stop by and tear it up for a few songs. Gradually, in a grass roots approach, they built a solid following from local music fans. Consistently delivering quality music in a casual and impromptu way.

It was in 2017 that the Peppery Cat closed operations, and the jam was moved across Queen St. East to The Salty Dog. Both venues were owned by the same family so it was an easy and logical transition. Although slightly smaller in size, the Salty Dog had a more intimate and comfortable vibe. When it was filled with music fans, the energy for both performer and audience was unparalleled. It was during this time, up until it also closed in February 2020 (unrelated to covid), that the Friday Night Blues Jam really became what it is known for today. Many of the top players from Southern Ontario regularity would occupy the featured guest spot. It was not uncommon to have Juno winners, Maples Blues winners, and up and coming stars to be featured as guest, in the house band, or just drop by to play a few or mingle with the community. Musicians such as Tom Bona, Jonny Wong, Jesse Whiteley, Joshua Miller, Ian Andrews, Julian Fauth, Steve Grisbrook, Frank Cosentino, Rob Quail, Jerome Tucker, Tony Springer, Sugar Brown, Conor Gains, George Koller, Russ Boswell, Little Magic Sam, Nick Tabarias, Paige Armstrong, Tim Gittens, Tracey Gallant, John Fraser Findlay, Dan MacKinnon, Mike Nagoda, Sons of Rhythm, Meghan Parnell, Dave Barnes, Greg Godovitz, and Sandra Bouza, to name a few. Many friendships and professional relationships were forged during this time. International visitors would show up and share their stories of how they heard about the scene that was happening.

long mcquade

By February of 2020, those Friday nights were standing room only, and it was difficult to move in the confines of the venue. Serendipitously, the venue had been outgrown when the Salty Dog closed, and the jam needed a new home. The perfect opportunity was at the Black Swan Tavern (154 Danforth Ave). The Black Swan Tavern was bigger, had a more central location, and most importantly has a storied history of having some of the greatest blues musicians in the world play there during the days of the Kendall-Wall Band from the 80’s and 90’s. It was clear after the inaugural Black Swan event that they had indeed found their new home. A place to grow, evolve, and continue to fill the hearts of dedicated blues fans with some of the best music and energy that Toronto has to offer.

 

Tyler Yarema live at the Reservoir Lounge

Since 1993, Toronto-based musician, Tyler Yarema (then twenty-one years old) has been performing at the Reservoir Lounge, soon after its official opening in downtown Toronto. The self-taught musician (pianist and vocalist) currently plays weekly on Friday and Saturday evenings, beginning at 9:30pm. Last Friday was the first show post-COVID and was received extremely well by the patrons at the Lounge; a clear relief as many locals had their first taste of live music post-pandemic.

Sonetta Duncan

Though, I use the term “self-taught,” Yarema would prefer the term “self-educated.” The difference being that self-taught implies learning without external sources. Self-educated is more a personal study from both the artist themselves, and other artists and teachers and resources.

Yarema has been dabbling in music since the ripe age of thirteen, where he would play guitar in jam sessions with friends. At the age of sixteen, one of his co-dabblers brought their keyboard. As soon as Yarema sat down with the keys, he knew that his life had changed. While something beyond him (one-might-say, divine source) took over, he knew he had found his calling.

Tyler Yarema

Throughout his youth, he would ditch classes to play the school piano instead of studying. It didn’t take long before his mother accepted this as part of his artistic process.

Upon asking Yarema advice for other musicians, he agreed that while things differ from individual to individual, as well as place to place and time to time, it really does depend on three huge factors. The first being, the patience and time to dedicate into learning a new skill and surrendering your life to said skill. The second being the commitment to jam sessions and playing with as many different artists as possible, in as many venues, locations, and circumstances as one can manage. But the third, and arguably most important factor is something beyond you, a skill set you were given at birth. To quote, to be an artist requires something that the “good lord gave you that sets you 1,000 miles beyond your colleagues” before you even begin the learning process. Many true artists can emphasize with this factor, feeling as though they are a vessel to their art and not truly creating it externally, but it comes from something within one’s self. A drive beyond their own function.

Tyler Yarema

Yarema’s main advice for fellow musicians starting out – while things are constantly changing, just keep performing. Keep doing what you love. Keep learning and keep dabbling. Also, try out open-mic nights, as you never know where one avenue might lead.

Yarema has recently been invited to join the Downchild Blues Band as the keyboardist, the first show will be during the Tim Hortons Southside Shuffle.

by Sonetta Duncan + Pics By Paul

The Rex Hotel Toronto

Late Nights at The Rex: Musings About a Unique Toronto Venue

The live music venue is known for its retro-chic décor, and of course, the infamous and by-now-beloved pillar in the middle of the dining area. It’s this unique modern-yet-historical charm that makes it so distinct – and so popular as a late-night hangout spot. For many years it’s been a central venue for the TD jazz festival. Why wouldn’t it be, given that it’s such a household name? Believe it or not, though, The Rex started out from seriously humble roots. In 1960, Bob Ross bought out the cute but unremarkable United Clothing Store and converted it into an expanded bar, which quickly attracted an audience. Around 20 years later, as Queen Street West became increasingly hip, Ross realized that he had better keep up with the times if he wanted to boast a poppin’ venue for local clientele. Initially he hosted mainly pro-alt-country and rockabilly music, genres that are scarcely recognizable today. But all that was soon to change.

https://livemusicguide.ca/ printed in LIVE MUSIC GUIDE newspaper

https://livemusicguide.ca/ printed in LIVE MUSIC GUIDE newspaper

#musician #singersongwriter #singer #songwriter
#originalmusic #CanadianBands #CanadinMusic
#MusicCanada #TorontoMusic

 

In the early days of the venue, Bob Ross would shut down early, go to the nearby jazz bar Bourbon Street & Basement Street, and chillax with the musicians till the early hours of the night. Eventually they started showing up at the Rex between sets – mostly for the bargain drinks. So it was a combination of sociability and business savvy (read: cheap beer) that lay down the roots of The Rex as we know it today.

One seemingly ordinary night, Canadian saxophonist DT Thompson was playing down the street. After a set, the jazz musician strutted in casually, playing “When The Saints Go Marching In” while prancing around the bar. Eventually he found his way to the bar, and requested a rye and coke for his impromptu entertainment. Ross was seemingly more amused than anything, because from that day forward the venue has been known predominantly for its jazz and blues shows.

 

 

In the early days of the venue, Bob Ross would shut down early, go to the nearby jazz bar Bourbon Street & Basement Street, and chillax with the musicians till the early hours of the night. Eventually they started showing up at the Rex between sets – mostly for the bargain drinks. So it was a combination of sociability and business savvy (read: cheap beer) that lay down the roots of The Rex as we know it today. One seemingly ordinary night, Canadian saxophonist DT Thompson was playing down the street. After a set, the jazz musician strutted in casually, playing “When The Saints Go Marching In” while prancing around the bar. Eventually he found his way to the bar, and requested a rye and coke for his impromptu entertainment. Ross was seemingly more amused than anything, because from that day forward the venue has been known predominantly for its jazz and blues shows. The bar has been renovated many times over the years, but none of the changes have modernized it so much as to take away its characteristic and unmistakable Old Toronto feel. The bar is still owned by Bob Ross, and now he has his grandson Avi around to manage it with him. Tom Tytel took over booking in the 90s, and he’s been the go-to guy ever since. The Rex may be a bar, but it seems to be equal parts a family.

The bar has been renovated many times over the years, but none of the changes have modernized it so much as to take away its characteristic and unmistakable Old Toronto feel. The bar is still owned by Bob Ross, and now he has his grandson Avi around to manage it with him. Tom Tytel took over booking in the 90s, and he’s been the go-to guy ever since. The Rex may be a bar, but it seems to be equal parts a family.

 

Late Nights at The Rex: Keith Barstow Group

Late Nights at The Rex: Keith Barstow Group

As far as mottos go, The Rex Hotel Jazz and Blues Bar prefers to keep it simple. “More Great Jazz than anywhere else, all the time!” is their commitment. They honour it very well, and especially now as we return to a world of late-night drinks and live jazz. Having just reopened, The Rex has caught the attention of many a music lover yearning for a night of musical whimsy. And they’ve prepared well for it, too: the unmistakable venue has invested in all the modern equipment necessary. Their stage boasts floor-to-ceiling glass walls to ensure a barrier between musician and audience, and they are certainly taking full advantage of the outdoor patio craze of summer 2021.

Late Nights at The Rex: Keith Barstow Group As far as mottos go, The Rex Hotel Jazz and Blues Bar prefers to keep it simple. “More Great Jazz than anywhere else, all the time!” is their commitment. They honour it very well, and especially now as we return to a world of late-night drinks and live jazz. Having just reopened, The Rex has caught the attention of many a music lover yearning for a night of musical whimsy. And they’ve prepared well for it, too: the unmistakable venue has invested in all the modern equipment necessary. Their stage boasts floor-to-ceiling glass walls to ensure a barrier between musician and audience, and they are certainly taking full advantage of the outdoor patio craze of summer 2021. On Monday, July 26, the kicked off the week with some smooth live tunes. With Keith on the drums, Ian on the horns, and David on the bass, they were the quintessential jazz trio, perfect to sip summer cocktails along to. They met at U of T and have been making music together ever since. All three seemed thrilled to finally be back in the music scene, and their fervour was clear in their performance. In fact, I daresay their stage presence as group easily made up for the plastic barriers separating them from the audience. They have little social media presence and tend not to advertise much, claiming they really do it for the love of music. This love of music may be all the advertising they need, because we sincerely recommend you go check out the Keith Barstow group next time they play The Rex.

 

On Monday, July 26, the kicked off the week with some smooth live tunes. With Keith on the drums, Ian on the horns, and David on the bass, they were the quintessential   jazz trio, perfect to sip summer cocktails along to. They met at U of T and have been making music together ever since. All three seemed thrilled to finally be back in the music scene, and their fervour was clear in their performance. In fact, I daresay their stage presence as group easily made up for the plastic barriers separating them from the audience. They have little social media presence and tend not to advertise much, claiming they really do it for the love of music. This love of music may be all the advertising they need, because we sincerely recommend you go check out the Keith Barstow group next time they play The Rex.

Late Nights at The Rex: Keith Barstow Group As far as mottos go, The Rex Hotel Jazz and Blues Bar prefers to keep it simple. “More Great Jazz than anywhere else, all the time!” is their commitment. They honour it very well, and especially now as we return to a world of late-night drinks and live jazz. Having just reopened, The Rex has caught the attention of many a music lover yearning for a night of musical whimsy. And they’ve prepared well for it, too: the unmistakable venue has invested in all the modern equipment necessary. Their stage boasts floor-to-ceiling glass walls to ensure a barrier between musician and audience, and they are certainly taking full advantage of the outdoor patio craze of summer 2021. On Monday, July 26, the kicked off the week with some smooth live tunes. With Keith on the drums, Ian on the horns, and David on the bass, they were the quintessential jazz trio, perfect to sip summer cocktails along to. They met at U of T and have been making music together ever since. All three seemed thrilled to finally be back in the music scene, and their fervour was clear in their performance. In fact, I daresay their stage presence as group easily made up for the plastic barriers separating them from the audience. They have little social media presence and tend not to advertise much, claiming they really do it for the love of music. This love of music may be all the advertising they need, because we sincerely recommend you go check out the Keith Barstow group next time they play The Rex.

story by Tara Smylie, pic by paul murton

 

Kevin Garrett

Kevin Garrett

Kevin Garrett is an American musician from Pittsburgh, Pennsylvania based out of Brooklyn, New York. This talented young musician has already been nominated for his work on Beyonce’s ‘Lemonade’ album, and I have a feeling it will only be the first of many. There is something about him that makes me think of Ed Sheeran, but he has a sound that is all his. It’s rare to hear this style of music played and sung so beautifully by a male vocalist. This kid has more than enough talent to give even Ed a run for his money.  Extremely talented at songwriting, guitar and piano, something about this young man’s music suggests a future hit love song that will be on every wedding playlist, likely as the first song or the traditional father-daughter dance. Those are the kind of ballads that are timeless, and evoke fond memories and tears of either happiness or sadness for decades to come. If anyone has the potential and talent to create one of those timeless ballads, it’s Kevin Garrett. You won’t have to watch out for this young man, because you will be hearing more from him. Just wait.

by Melissa Petters

 

Review: La Force

Review: La Force

La Force

Featuring a lead vocalist with a stunning voice filled with passion and clarity, La Force has a sound that is filled with beautiful melodies and instrumental accompaniments. Their eclectic music would be ideal for an funky restaurant or art gallery, a mellow party with candles and soft conversation or just to enjoy while one sits and writes music reviews. They range from the soft and soulful to a more upbeat and unpredictable style. It’s fun to listen to while being relaxing at the same time. La Force would appeal to a wide variety of audiences of many ages. Their name is appropriate, because they ARE a force. They stand out rather than blending with the status quo, which isn’t easy to do nowadays, and they are going places. Definitely worth checking out!

Melissa Peters

Unwed Mothers (Edmonton, AB)- Blues, Indie, Rock)

Unwed Mothers (Edmonton, AB)- Blues, Indie, Rock

 

 

 

 

 

 

The next stop was the Cadillac Lounge to take in a Canadian band, Unwed Mothers, whose name was neat and resonated with me as an unwed mother myself. The lead singer, Julie Adams,a petite woman with long hair told the crowd that she was here in the big city for the very first time. If she was finding the hustle and bustle of Toronto overwhelming it didn’t show in her performance at all. When she opened her mouth to sing, I was impressed by the power behind a voice belonging to such a small person- I always seem to find it hard to anticipate a large voice from a small person even though I have been proven wrong time and time again. Her voice was bluesy and, listening to her, Bonnie Raitt came to mind. The volume on the mic could have been louder, as I found it difficult to decipher the lyrics most of the time. The band, especially the frontwoman, were already quite the crowd favorite for newcomers to the city. I don’t know many people who can afford to fly across the country for a music festival, so either their online presence and marketing are incredible, or the locals quickly welcomed the band with open arms. Julie is quite pretty, which never hurts in the entertainment industry, and when she commented on being parched about five guys jumped to the rescue. Three of them gave up, but she made a point of having a sip from both of the beers in front of her, which I thought was really cute. The petite ‘Unwed Mother’ played rhythm guitar for the first few numbers, but I noticed a keyboard at her side and I was looking forward to seeing when she switched it up. Considering my feeble attempts thus far, it always intrigues me a little to watch someone play an instrument while doing all the singing. When she did switch to the keys, she did so in a rhythm capacity, using her free hand to cup the microphone for a rougher vocal effect. It was a nice change at first, though it made hearing the lyrics virtually impossible, but it hid her voice too much. It made for a modern Janis Joplin sound, in which I could see the attraction and appeal, but it could have been used more sparingly. The fourth number was another original, and very impressive, especially as it was a great opportunity for the songstress to showcase her vocal range and talent. The volume on the mic became far less of an issue when the feedback storm began. For some reason, it suddenly got incredibly loud, and whoever was in charge of sound couldn’t seem to get rid of it. The infamous nails-on-a-chalkboard effect of badly placed feedback became fainter, but never really disappeared. It really was a pity because the song that got cut off when the storm began was really pretty. Some of the earlier numbers were hard enough to scare off the more delicate members of the audience, but I personally enjoyed their overall sound and Julie’s beautiful voice, especially when she sang a few inches away from the mic.

Melissa Peters

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Jordan Klassen

The El Mocambo was ON FIRE when Jordan Klassen hit the Stage!! Literally. They had to evacuate right after the first song. The evacuation went smoothly, and our cities firefighters showed a great response time. It was only a little kitchen fire though, so they checked to make sure it was out and then hopped back into one of the 8 fire engines out front and drove away. The whole thing took less than an hour, but it was exciting to be there to see it, especially with it not being serious and no one getting hurt!

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Funeral Suits (Alternative) Music Review

Funeral Suits (Alternative)

Funeral Suits (Alternative) When this band took the stage, any assumptions about traditional Irish music went right out the window. Their first song confirmed what their punky/rock clothing said, as it was hardcore alternative. Stylistically, they were reminiscent of Nine Inch Nails, or Marilyn Manson, but with a uniqueness to their sound. The inclusion of keyboards added depth, and sometimes melancholy. At the beginning of the third song, some pretty ominous sounds emitted from the keyboard and remained faintly in the background throughout. The barrage of buttons and effects on the mic and keys were well utilized, creating a plethora of crazy-cool noises within and around the main body of music. The bass behind the following song was huge, with blipping techno noises meeting slow Nine Inch Nails style. I could certainly imagine a niche for this sort of thing, but they aren’t the kind of band that would appeal to the masses. The last song were heard was a complete 180 degree spin from those preceding it; far more mainstream, happy, fun and catchy- I found myself hoping it was the one on the free CD sampler.

Melissa Peters

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