December 2009

Cubamenco: Robert Michael

Cubamenco

By Classical Editor and Jazz contributor, Rob Tomaro

Roll Over Beethoven: Finding the new Mojo in music

The new mojo (the magic touch, the new meaning) can be found in the work of artists who are trying to break through cultural boundaries to create a new form, a real World Music, who harvest the best that world culture offers in search of something not heard before.

Canadian guitarist Robert Michaels does that on his new CD "Cubamenco", a word he's coined to describe a blend of Cuban and Flamenco music. Cuban music, which has enjoyed a new prominence since the release of the documentary ‘the Buena Vista Social Club,’ is culled from several streams of Latin American folk music. Flamenco, the Spanish gypsy dance form, is laced with the haunting minor modes of the Moors, who swept up from Morocco into Spain in the ninth century. The confluence of these two traditions gives rise to a new, fertile sound.

The Simon Bolivar Youth Orchestra of Venezuela

Simon Bolivar 1

by Rob Tomaro

It was a wet Thursday morning. Twenty thousand kids descended upon this vast sports arena. Not for Miley. Not for sports. For Tchaikovsky. For Rossini. Their parents had paid for them to come to hear a symphony orchestra. To hear. To listen. No explosions. No tanks transforming into monsters. Rossini. How was such a thing possible?

The place bristled with cameras on giant dollies. Somebody, somewhere, was pouring out a great deal of money in the hopes of turning this into a TV special and the Emcee was on the mike ten minutes before showtime trying valiantly to program them to be quiet when the cameras rolled. They were already jumping up and down in their seats. "We're filming this for TV, everyone!!" Good luck, pal. There's twenty thousand of them and one of you. Why do I hear Pink Floyd faintly in the background? But, he was doing his best: "Hey, kids. Let's practice silence!!" ("Hey, teacher. Leave those kids alone.")

Hollywood Heavy Metal

Anvil

The Anvil Story

by Bill Delingat

If you lived in Toronto in the 60’s and 70’you would have been in the midst of a musical transition from the folksy peacenics and “Flower Power’ of Yorkville to the rock ‘n’ roll rebellion and well sprayed coifs of the “Hair Bands” of Yonge Street and finally the crash and burn of “Punk Rock” on Queen West. In the midst of the new ‘Metal Scene’ of music with hard rockers, like the Killer Dwarfs, Goddo, and Streetheart came a group of gnomish characters called “Anvil”.

Canada’s Next Big Thing

Cover Dec 2, 2010

Jenn’s Not Taking It For Grant-ed

By Lenny Stoute

The upbeat, just this side of bubbly voice on the phone belongs to folk-pop songstress Jenn Grant, touring in support of Echoes, an album load of sombre, brooding tunes. Her vibe’s like that on account of Grant and bandmates are on the way to play Montreal’s newest hipster venue, Il Motore. Yesterday, it was a writing day and the day before that, playing the prestigious Glenn Gould Theatre in Toronto.

“It was pretty awesome. The sound was great; it’s a huge place in the old soft seater style. I have no idea how many it holds. It was a very nice gig” all sounds a little offhand but not because Grant isn’t appreciative of the venue’s status. She is, but increasingly she’s playing the soft seat circuit as talk builds that Jenn Grant’s the next big thing, the Feist in waiting, a redhead with a peaches’n’cream complexion, a killer way of working a vintage dress and her own voice.