Mariposa Folk Festival - 2nd Annual - Orillia, Ont. July 1962

Reprinted from ‘Sing and String -- Canada’s Folk Song Magazine’ July 1962 edition, with permission of its author and editor, John Stricek, to friend and fellow music journalist Joe Curtis.

Mariposa Revisited

By John Stricek

Had there been chandeliers, the audience would undoubtedly have hung from them. Since most of the Mariposa Folk Festival actively transpired outside under the stars, the enthusiastic participants crowded virtually every square foot of grass in Orillia.

The folk singing heard in Orillia that weekend, probably differed somewhat from that of Samuel de Champlain and his “voyageurs” who camped there more than 350 years ago. Had the town’s statue of Champlain come to life, he would have seen scores of tents pitched, as of yore, but the folk singing accompanied by Scruggs-style banjos and twelve-string guitars.

It was a weekend where singing literally never stopped. In our own bivouac, we turned in one night at 6 a.m., just as the oncoming shift started with a lullaby or reveille, whichever applied to whom. The three main concerts were only a part of the joyful fare. Enthusiasts flowed into Orillia by the thousands and sang wherever two or three could gather; on the beach, in the parks, at bus stops, and local restaurants. At Champlain’s monument pigeons had to pull a fast Dunkirk as wave after wave of minstrels delivered their “most personal message”. So went the nights, till the last guitar string broke and the last vocal cord rebelled. It is just such an atmosphere that makes the difference between a concert and a festival.

When the Festival was brought up for group discussion at a recent folk singing session, the cheers and raves had to be purposely curtailed, in order to get some constructive criticism. There was indeed room for criticism, but knowing some of the difficulties which had to be surmounted, we state them not in reproach but solely as a help for next years festival. Much credit is due to Sydney Banks, Director, who admirably carried on under highly adverse conditions.

The children’s concert, which we severely knocked last year became a great success this year enjoyed by children and their parents as well. One of our main beefs was the gross mismanagement of Mrs. Edith Fowke’s workshop on folklore and we hope adequate apology was given her. The scope of her diversified knowledge of the folk idiom, had valuable potential and was sought by many, but alas, no stage, microphone, not even seats for the audience were provided. In fairness to the directorate, we found this was due to an unfortunate break in communications.

Some complained of the panel discussion as top heavy in American theme. Others mentioned too obvious an effort to divorce things Canadian from things American. We wonder if there is room in folk music for narrow provincialism. Even the most die-hard of “native sons” must be aware of the obvious inseparability of certain aspects of the two cultures.

Much was also said of the slick professionalism and commercialism as opposed to the lack of authentic “traditional” element. It must be realized however, that financial as well as artistic success is essential if the festival is to survive. The “in-groups” and “purists” would undoubtedly come to hear a backwoods logger or hardrock miner, but would these attract the general un-initiated public? A happy medium is possible. We would suggest some form of competition or contest limited to folk singers only and not folk performers. The winners could then be incorporated into the final concert. Competitions after all are the basic ingredients in festivals.

We would also recommend that more thought be given to those who stay in Orillia for the entire weekend. Festival scouts could seek out various locations for proposed campsites, “hootenannies” and other facilities. Since the restaurants cannot possibly handle the amount of business, various organizations could be approached to put on dinners or picnics. As we stated last year, maps or information centres are a definite must. The town Fire Marshall could be approached for permissable locations of bonfire sites.

The main concerts themselves can only be criticised on grounds of personal taste of individuals. Expertly M.C.’d by Ed McCurdy and Oscar Brand the audience in general, judged them a smashing success. Their thunderous applause for “The Travellers” must have awakened many an early-retiring Orillian. The insistent calls for encores by “Ian and Sylvia” ceased only when the audience was promised they may hear them again shortly - in church next morning.

If rising popularity of the Festival continues, we soon expect the immediate association with Orillia will not only be Champlain and Stephen Leacock, but also Mariposa Folk Festival. On behalf of those who wish it to be we would like to cordially ask the press, general public, and particularly the citizens of Orillia, to please refrain from over-emphasizing isolated incidents of misbehaviour. Not long ago Toronto played host to a convention of high spirited Shriners---75,000 strong. During some of their antics, the city was virtually paralyzed for hours at a time. Granted, it is easier to laugh off the high-jinks of free-spending millionaires than of struggling students, but aside from monetary gain, the hosts and guests of both these events profited. The “seasons to be jolly” do not come often and the world does well not to forget its joys and laughter.

Certainly we have seen the picnic table that fell victim to the exhuberance of festivity but we have also seen a well-spoken attractive blonde who knocked on tent-flaps of campers (quite a feat at that) and made a voluntary collection for the pensioners who gave free use of their land. For the most part the crowd was well behaved and the Festival was publicly invited to return next year. One citizen even expressed a renewed hope for the future when he saw the college students, presumably our leaders of tomorrow, getting along so harmoniously and peaceably.

With the Festival ending this year in sound financial state, the means have now become available to make it a cultural as well as entertaining annual event. Canada has many serious scholars of folklore and dedicated folk song collectors. If more people like Tom Kines, Alan Mills, Edith Fowke and Dr. Helen Creighton could be invited to bring their wide scope of experience to the Mariposa Festival, Orillia would soon become the “Stratford” of folk activity.

For continuing success, the future directors of the Festival should closely bear in mind a remark made by Isreal Young on this year’s symposium. “People are turning to folk music because they are tired of having everything done for them - they want to participate”. Evidence of this was ample wherever you turned. During intermission, instrumentalists and singers clustered together, straining to burst into song, but no official sanction was given. Very little audience participation was permitted. In search of places to belt out a few songs, groups would cluster in doorways and on front lawns. One restaurant, too crowded for a conventional handling of instruments, had necks of guitars and banjos wobbling above their player’s heads like TV aerials in suburbia. This activity cannot be stifled and planning committees should make provision for it. In case of rain, perhaps the railroad, who so cheerfully pulled a “traditional” steam engine out of mothballs for the Mariposa run, could be asked to leave a few empty boxcars on the siding. Otherwise no dog in Orillia will be safe from forceful eviction while his doghouse is expropriated for impromptu “hootenannies”.

Note from Joe Curtis:

The 45th Annual Mariposa Folk Festival, Orillia, Ontario, happens July 8-10, 2005 in Tudhope Park, Orillia, Ontario, Canada

For more information, go to:

Official Mariposa Folk Festival Web Site:
http://www.folk-festival.org/

Gordon Lightfoot at Massey Hall,
Toronto, Ontario, Canada, Fri. May 20, 2005

By Joe Curtis

Gordon Lightfoot's much anticipated 2005 Massey Hall Spring Concert Series in Toronto, Ontario, Canada has finally arrived. This annual concert series started on Wed. May 18th, and ran for four successful evenings of music and mirth at Toronto's 'Old Lady of Yonge St.' -- the much revered Massey Hall. Canada's singer/songwriter/folk music hero, Gordon Lightfoot, is as much respected and appreciated, as 'the old Hall' is herself! Lightfoot's songs capture the spirit of Canada and its identity in a way that's only comparable in a non-music way, with the writings and pictorial essays of the late, great Pierre Berton and Victorian master artist Cornelius Krieghoff. The pictures Lightfoot paints with his lyrics and melodies are as much a part of Canada as the Canadian Shield itself!

It was my pleasure to attend Lightfoot's Friday evening concert, May 20, 2005 at Massey Hall in Toronto. There was a feeling in the air of a very special night out, and an equally special concert about to happen. There was an 'electric spark' in the atmosphere that was unmistakable!

The crowd appeared overjoyed to be here -- even before the charismatic Gordon Lightfoot and his amazing band set foot on stage. While the house lights were on prior to the beginning of the show, fans were seen mingling with each other, and looking up and down and all around the balconies and orchestra area, enjoying seeing all the other happy Lightfoot fans lucky to be here.

I ran into an old friend (for the past 30 years) this night -- Sandy Bozzo who's been Gordon Lightfoot's hairstylist since 1961 (at Frank & Sandy's, across from the CHUM building on Yonge St. in Toronto.) Bozzo and his wife were excited to be at this concert, as they've been countless times before -- since Lightfoot's earliest performances in the 1960s in Toronto's Yorkville coffeehouses; and the 2nd Annual Mariposa Folk Festival in Orillia, Ontario, where Lightfoot made his first Mariposa appearance in 1962.

Renowned concert promoter and booking agent Bernie Fiedler was seen in the Massey Hall audience, happily greeting old friends and Lightfoot fans. This is something Fiedler's been doing since the early days of Lightfoot's career, when some of these same fans attended Gordie's first appearances at Fieldler's iconic 1960s folk club, The Riverboat - the Mecca of Toronto's '60s Yorkville folk scene. Also present this night was Lightfoot's longtime business manager Barry Harvey. He was busy making sure the show ran smoothly without a hitch - which it certainly did!

The atmosphere at Massey Hall this Friday night was very laid back and relaxed. The delight of the audience was apparent before, during and after Lightfoot's extremely enjoyable two-hour performance. This show was divided into two 60- minute parts, with a refreshing 15-minute intermission in between. Lightfoot remained standing - playing guitar and singing - throughout each of his one-hour sets. This might not seem an incredible feat, except for the fact we almost lost him to a near-fatal aneurism that sent him to the hospital and put him in a six-week-long coma in Sept. 2002. Since that time, Gord hasn't performed another full-length concert until now. Many of his fans held onto their tickets from the show back then which he didn't perform, and had these tickets honored for seats in this May 2005 4-concert/4-night Lightfoot folk extravaganza.

Lightfoot made a brief appearance last summer at the 44th Annual Mariposa Folk Festival, where he played one song to the delight of the multitude of 'folkies' in the audience. Now that Lightfoot's health has gotten much better again, he'll be playing an entire concert celebrating this year's 45th Annual Mariposa on Sunday, July 10, 2005. He's been performing at this event since the 2nd Annual Mariposa in Orillia in 1962. His concert here July 10, 2005 will be the finale to this illustrious annual 3-day long folk music Mecca.

Two of my favorite Lightfoot songs at Friday's Massey Hall concert, were the beautifully romantic "Beautiful", and the equally deeply moving "If You Could Read My Mind". These two songs were exuisitly arranged and sung from Lightfoot's heart as only he can sing them. (As one fan aptly put it, "Nobody can do 'Lightfoot' like Lightfoot!" That's so true!) His and Terry Clements' familiar guitar leads in these tunes, rekindled many happy memories of the first time this writer heard them performed as hits on Toronto's CHUM AM radio back in the early 1970s when they first made #1 in the charts.

When Gord sang "Couchiching", images came to mind of his hometown of Orillia, Ontario and the natural beauty of Lake Couchiching on which it borders. Lightfoot brought out his 12-string to sing a beautiful version of "Harmony", from his most recent CD of the same name. He also played "Clouds of Loneliness" -- also from his 'Harmony' CD. (Available from Linus Entertainment, http://www.linusentertainment.com/artists/gordon/gordon.shtml
This tune had me wondering whether "Clouds" is in some respects a Lightfoot auto-biography.

Some of my favorites at this show, were Gord's 'sea songs'. Most notable are "The Wreck of the Edmund Fitzgerald" and "Ghosts of Cape Horn". Both were extremely rousing and had the crowd singing and clapping right along. The haunting, melodic lead guitar riffs in "Edmund Fitzgerald" have the ability to touch the soul, explaining why Lightfoot's audience was completely transfixed!

Gordie's performance of "Canadian Railroad Trilogy" this night, had this writer recalling the words C.B.C. broadcaster Laurie Brown once said about Lightfoot: "If we ever had a Poet Laureate in Canada, it would be Gordon Lightfoot!" She mentioned this after watching Lightfoot's inspiring version of "Railroad Trilogy" and three other Lightfoot originals at Toronto's ACC 'Farm Aid Concert' (that brought awareness to the farmers' plight out west) in January 2000. Mr. Lightfoot's performance of "Canadian Railroad Trilogy" this night at Massey Hall in May 2005 was equally as inspiring and exhilirating as it was at the ACC in Jan. 2000. (The only other performance that day in Jan. 2000 that had Lightfoot's impact, was Burton Cummings singing "Share the Land", while accompanying himself on piano, with Lightfoot and Ronnie Hawkins and others sharing background vocals, to a packed house!)

"Early Morning Rain" was the finale at Massey Hall 2005, to this extremely enjoyable Friday evening of Gordon Lightfoot songs, sung by the man himself. This laid back Lightfoot tune left a nagging feeling of wanting 'more' of Gord's highly entertaining and soul-healing music. However, all good things must come to an end, and the finale featuring "Early Morning Rain" couldn't have been a better choice to finish this beautiful concert with!

Postscript: Gordie appeared energetic and told some funny jokes in his two one-hour-long sets this evening, and was on his feet all this time. He didn't seem to have any problem playing guitar or singing (despite his recent near-fatal health problems), and his sense of humor was right-on-the-ball. The audience laughed at his jokes, which are as funny as his songs are good!

At the after-concert party, Lightfoot jokingly mentioned to this writer: "The doctors took something out inside, and put something in -- and some got added 'outside'." He laughed as he said this. So I countered with, "The 'outside' was added at an 'ice cream parlor'." -- which got a laugh from Gord. Laughter really is the best medicine!

Lightfoot's humor on and off stage this night in May 2005, reminds me of the second time I met him, at the CD release party for the Lightfoot tribute CD, 'Beautiful' in 2003, put out by Borealis Records.

I asked Lightfoot that night, "How's your health, now?" To which he jokingly answered (with a wry smile on his face), "The doctors haven't finished with me yet!" I remember responding with, "It's a good thing, because when they are, it's 'over'." He laughed at this joke, because he (and all of us) realized how lucky he was to pull through from his near-fatal health problems. Lightfoot's now well on the road to much better health.

We're all very happy that Gordon Lightfoot is still with us, and is in good enough health to put on such a great show as he did this night at Massey Hall on Friday, May 20, 2005. It looks like Gordie's meant to be with us for a long time to come - entertaining us with his sense of humor and great songs, that he's brought to our ears, our hearts and our lives for decades on end.

Gordon Lightfoot band members:

Gordon Lightfoot: lead/rhythm guitar and lead vocals
Rick Haynes: bass (since about 1967)
Barry Keane: drummer (since late/mid-1970s)
Mike Heffernan: keyboards (since 1980)
Terry Clements: lead/rhythm guitarist (since about 1969)

Gordon Lightfoot 2005 Tour Schedule at this link:

http://www.lightfoot.ca/2005.htm

45th Annual Mariposa Folk Festival Official Web Site:
(featuring Gordon Lightfoot and many others, July 8-10, 2005):

http://www.folk-festival.org/

There's a wealth of information about Gordon Lightfoot at these web sites:

Linus Entertainment web site: (Gordon Lightfoot's new 'Harmony' CD can be ordered here. It features all-new original Lightfoot recordings and previously unreleased Lightfoot songs.) There are three full-length songs from 'Harmony' to listen to (including the title track) at this very informative Linus Entertainment web site:

http://www.linusentertainment.com/artists/gordon/gordon.shtml

An extensive Gordon Lightfoot biography (including complete discography and band members' info) is available at this informative and entertaining Lightfoot fan web site:

http://www.lightfoot.ca/

More great Lightfoot info can be found at this web site:

http://www.corfid.com/

Leon Russell at The Kathedral in The Big Bop,
Toronto, Ontario, Canada, Thurs. April 21, 2005

By Joe Curtis

Leon Russell is so well known around the world by music aficianados that his name is a household word by many who know and appreciate the best music around. However, he's never been a major player in the realm of mainstream audiences except for some if his stellar work on the album Carney with hit "Masquerade" and the ultimate all-star concert, 'Concert For Bangladesh'. It was this concert where Russell shares a starring role on stage with the likes of George Harrison, Ringo Starr, Eric Clapton, Ravi Shankar and other illustrious icons of '60s & '70s rock - making that era what it was and still is!

Leon still has what it takes to deliver an impeccable 5-Star performance as evidenced at Toronto's Big Bop Concert Hall, on the night of Thursday, April 21, 2005. Leon has an extremely talented band backing him, featuring guitarist Jon Woodhead; bassist Jackie Wessel; drummer Cody Bailey and percussionist Grant Whitman. Leon's eye-catching daughter Sugaree Noel is also part of his band and delivers a delightful performance playing an unusual looking percussion instrument called an African beaded gourd, as well as singing some harmonious background vocals.

Leon's piano playing continues to be absolutely impeccable and his lead vocals continue to mesmerize and captivate this writer as they did when I first heard him sing 35 years ago. Leon and his amazing band had the audience in the palm of their hand throughout their entire Big Bop concert April 21st. He still retains the allure he once had, and played a captivating 90-minute-plus concert that left many with a special, uplifting feeling when Russell's concert was over - this writer included!

All ages attended this concert, but most were in their 20's and early 30's. However there were also some in their 50's and 60's who have sustained their love for and appreciate of Leon Russell's music throughout the decades, remaining his devout fans! Some of these long-time fans might have been at Leon's outdoor concert back in 1973 at Toronto's Varsity Stadium. This writer was there as a teenager, and remembers Leon packing that place and giving a stellar performance then as now. He still retains the same charismatic charm and energy as he did in those days, which is refreshing to see and hear again, live! Not every artist is lucky enough to keep that spark going over the decades, and he does!

At the Big Bop Thurs. night, Woodhead played some mouthwatering slide guitar and was backed with imaginative bass parts from Wessel that possessed drive and pizzazz. Bailey's drumming was energetic throughout, as was percussionist Whitman who really got into his playing with body movements galore -- putting great effort into helping the band entertain this eager Big Bop audience with style and flair.

At one point in this evening's highly musical festivities, the rhythm section left the stage and Leon sang a solo number, accompanying himself on piano. In this very special part of the show, he sang a heart-warming version of "Lucky Old Sun", followed by and enchanting rendition of "A Song For You". The was a very special moment where all eyes and attention were focussed on Leon and his beautiful piano playing and captivating, right-from-the-heart vocals. It's the heart in Leon's performances that give them their special appeal. This is why the Big Bop had many eager fans listening intensely to every note coming from the stage.

"Delta Lady" and "Rollin' In My Sweet Baby's Arms" began this concert on an upbeat and featured Leon's amazing attention-grabbing lead vocals, along with some sweet background vocals courtesy of Sugaree Noel along with Wessel and Woodhead - creating a very 'Southern Baptist Church' 'feel' to their harmonies.

One of my favorites this night included blues guitar icon Jimmy Reed's "Peepin' and Hidin'". Another was a Stones medley featuring a rousing "Jumpin' Jack Flash", along with serene vocals on "Wild Horses" with more upbeat rhythms in "Paint It Black". Tennessee Ernie Ford's "16 Tons" was another familiar tune that went over well with the audience.

"Back To the Island" and "Lady Blue" finished off this Leon Russell concert with a bang - the fans clamored for more, but Leon had already delivered more than enough to make this awesome and highly memorable concert a real joy to have been present at.

As the fans were taking in all the good vibes of this fantastic concert, Leon Russell's overwhelmingly beautiful and romantic "The Same Old Song" (from his 'Guitar Blues' CD), emanated through the Big Bop sound system - radiating its Russell 'magic' as the man himself did this evening. This writer wished he'd played it live that night, but unfortunately he didn't. However, live or in a recording, it's one of the best songs ever composed and a real joy to listen to anyway it comes!

After the concert was over, Leon Russell signed autographs for 15 or 20 minutes with items brought into his tour bus and brought out again to the waiting fans by Russell bassist Jackie Wessel. He went to great effort to make sure these Leon Russell keepsakes got back into the right hands. With that in mind I'd like to close off still retaining the special feelings inside myself that seeing Leon Russell again, has kept alive within this writer's soul - a true sign that entertainment at its very best has come my way again. Adios for now ……..

Leon Russell Official Web Site:

http://www.leonrussellrecords.com/

Leon Russell Band:

Leon Russell - lead vocals and piano
Jackie Wessel - bass guitar
Jon Woodhead - guitar
Cody Bailey - drums
Grant Whitman - percussion
Sugaree Noel - African beaded gourd & background vocals

The setlist, not in the exact order:

The songs in Leon's solo section are "Lucky Old Sun" and then "A Song For You"

"Delta Lady"
"Rollin In My Sweet Baby's Arms"
"Prince Of Peace"
"Sweet Little Angel"
"Peepin n Hidin'" (Jimmy Reed)
"It Takes Alot To Laugh It Takes A Train To Cry" (Bob Dylan)
"Jumpin' Jack Flash" (Stones)
"Wild Horses" (Stones)
"16 Tons" (Tennessee Ernie Ford)
"Message To My Baby"
"Out In The Woods"
"Hummingbird"
"Stranger In A Strange Land"
"A Hard Rain s Gonna Fall" (Bob Dylan)
"Back To The Island"
"Lady Blue"

Ian Gillan as Special Guest of Jeff Healey and the Healey's House
Band, Thurs. April 7, 2005 - Toronto, Ontario, Canada

By Joe Curtis

© Joe Curtis

Attending a Deep Purple concert in the early to mid-'70s would have been a dream come true for this writer. However as the fates of the 'muse'-ical kind would have it, DP - the innovators of high energy rock at its very best - never appeared in my home town of Toronto, Ontario then. A huge disappointment .. that somehow was recompensed in a big way at Jeff Healey's nightclub Healey's in early April 2005 - What a wait? Yeah .. but worth every 'nano second' of it. ** Had to borrow that 'sci-rific' term from Ian Gillan's great web site, (in the story of the professor and his students, discussing 'Infinity') - check it out - infinitely funny and captivating, as are all of Mr. Gillan's quips and anecdotes - storytelling and reminiscences found at www.gillan.com !

Regressing (or digressing) to the evening of Thurs. April 7th-05, finds this writer up front and center at Healey's, taking in all the extremely fine musical emanations of "Highway Star" and other extremely rousing rock numbers from one of the true innovators and masters of this genre, Ian Gillan - vocalist extraordinaire - and the quintessential exponent of the best of what is rock from the 1970s - Deep Purple!

Although not surrounded and backed by these illustrious '70s icons of the muse (his Deep Purple cohorts) at Healey's, Mr. Gillan's time on stage was (and is from the soul and mind), one of the most satisfying concerts of any kind this writer has ever had the pleasure of attending.

Although Ian Gillan's time on stage was less than an hour, the moment as it happened and in memory afterwards, seems absolutely timeless! Gillan's voice was in true, fine form .. hitting the notes, the inflections .. exuding the energy, as if it was still the '70s, and he was fronting Deep Purple at some huge outdoor stadium -- or inside a huge hockey arena like Toronto's late, great Maple Leaf Gardens. (Sad to see it go, but it was a 'star' that got onto another 'highway'!)

Speaking of … Ian opened with the extremely rousing "Highway Star" at Healey's to a packed house - and was backed admirably by the Healey's House Band, led by keyboard wizard Dave Murphy, and starring the great Jeff Healey on guitar - the master of all that is 6-string!!! (in triplicate!)

Gillan was in fine form hitting the high notes and exuding the kind of charm, star quality or whatever you want to call it, that wowed and won the packed house of fans at Healey's to no end. They'd reached the end of their highway, and the beginning of an incredible set let by Gillan et al. Murphy's keyboard licks went wild and furious and were driven right along full speed ahead by Al Webster's amazing drumming that really has what it takes to keep this band's talent on its toes! Jeff's guitar was screaming out the leads like there was no tomorrow and so were Dan Noordermeer's incredibly exhilirating guitar solos -- that fit in so well, Mr. Gillan should take this prolifically 'guitaristic' individual on tour with him - (and lock him in the tour bus between shows!)

"Lazy" was anything but .. with Ian in top form on vocals and the rest of this fine band keeping up like musical workaholics that can't let go! And neither did this audience with its starry eyed fixation on Ian and the very fine Healey's House Band. It was nice to see Alec Fraser's input on bass, since he's been around since the glory 'daze' of Deep Purple, and was playing their tunes back then in bars and nightclubs .. and now has the illustrious honor of backing the man himself on some awesome bass lines - proving Mr. Fraser really knows his stuff in precision on his Precision!

Dave Murphy's lengthy and hypnotizing B-3 intro to "Lazy" came off without a hitch, and captured Gillan's interest while the rest of the band waited for their cue to come in and blast the hell out of this classic '70s rock tune. Gillan's blues harp playing was an unexpected surprise on "Lazy". The fullness of his harp tones blended beautifully with the rest of the rhythm section's heavy pumpin' riffs.

Noordermeer's soloing here and elsewhere in Gillan's set was incredible to listen to, and helped bring a freshness and vitality to the performance this night that was a joy to experience! Noordermeer and Murphy are part of the Dave Murphy Band, a great band the blows 'em away wherever they appear! Audiences are fortunate to see these two very talented artists perform as part of the Healey's House Band every Thursday evening.

Gillan spoke with beaming pride of his upcoming album which Jeff Healey is part of, (as are many other fine musicians) - so, it should be quite an 'achievement for the ears' when it's finally released. One of the imaginative tunes on this upcoming Ian Gillan CD release, 'Gillan's Inn' is entitled "When A Blind Man Cries", and features Mr. Healey's irreplaceable talent on guitar playing some sweet licks on the 6-string as nobody else can. This night at Healey's was possibly the first time this new Gillan tune was featured before a live audience.

All were waiting in anxious anticipation for this very special tune to be performed, as Gillan expounded on it and the joy of working on this tune with Jeff recently at Metalworks Studio near Toronto, in Mississauga, Ontario. Jeff's leads cried out their soulful depth as did the others in a very fine rendition of this completely new Gillan song. Gillan's vocals were in fine form here, and were captivating to listen to and watch.

Gillan's business manager Michael Lee Jackson was the special guest guitarist sitting in on this tune from 'Gillan's Inn', and played some awesome leads and rhythm with Gillan, Jeff and the rest. A first time run for most of the musicians on stage; this new tune came off without a hitch, and with some hint of reverence in its presentation. Keyboardist Murphy mentioned to this writer later, that "(Michael Lee) also played guitar a number of tracks on the album ('Gillan's Inn') so it sounds like he's a pretty talented manager!" This writer has to agree … MLJ certainly added some refreshing guitar riffs during his brief time on stage this night.

"Sugar Plum" is another of the new Gillan tunes from his upcoming 'Gillan's Inn' that was featured, and went off really well .. with Jeff's sweet, 'plumful' guitar licks combined with Gillan's vocals. Ian told a little story about this song title and how it evolved into it's present form. He mentioned it would be on his forthcoming album featuring Jeff Healey among many others of equally superb talent.

At one point in this musically historic appearance by Ian Gillan at Healey's this night, Gillan called out to the audience to see what they'd like to hear the band play. Various requests were heard called out, and this writer felt reluctant to shout out "Smoke On the Water" - however I may have blurted it out .. nonetheless this was the song that was performed after Ian's request went out. It felt so good to hear this song performed right before my eyes, by the individual who made it famous and a musical institution played in rock clubs all over, in rockdom's hey-dey of the mid-'70s, before disco 'discoed' in.

Jeff and Noordermeer shared a guitar fest between one another on this all-time Deep Purple hit, while Gillan's vocals screamed out the familiar lyrics the way this writer hoped they would sound and did! Not as a rehash of decades earlier, but with the style and charismatic charm of delivery that a classic tune is delivered with by a real pro as Ian Gillan is! The applause after "Smoke .." ended was tremendous and reflected a job well done on stage by all!

This fine Ian Gillan performance reached its finale with the rousing Jerry Lee Lewis rarity, "It'll Be Me" (which sounds a lot like "High School Confidential" but it's not!) This song was a special request from Gillan and a real winner in every respect. Gillan was singing this rousing '50s rock 'n' roll tune like there was no tomorrow. The energy he and the others gave off on stage in this Jerry Lee Lewis 'fireball' of rock 'n' roll, was contagious in the best possible way!

The audience reaction was tremendous, after this finale to an absolutely enchanting and memorable performance by Ian Gillan as Special Guest with Jeff Healey and the Healey's House Band. This response was as good as any performer needs to hear to let them know their fans genuinely appreciate the extra effort they go to on stage to entertain them.

As an afterthought I feel I should mention that the Jimmy Bowskill Band -- featuring 14 year old (Juno-nominated) blues guitarist Jimmy Bowskill http://www.jimmybowskill.com/ -- opened for Ian Gillan with some outstanding blues this evening at Healey's, featuring Bowskill and blues harp player Jerome Godboo (Ronnie Hawkins & The Hawks, http://www.ronniehawkins.com/ .)

The Jimmy Bowskill Band will be opening for Deep Purple (with Ian Gillan) June 20th-05 in London, Ontario, Canada at the John Labatt's Centre. http://www.johnlabattcentre.com/calendar/062005-20.html Also on this same bill will be iconic Canadian rockers April Wine. http://www.aprilwine.ca/ ** ('Wine' and 'Labatt's beer' seem to go well together at any party or concert!) April Wine will also open for Deep Purple when they appear at Toronto's Molson Amphitheatre http://www.hob.com/venues/concerts/molsonamp/ two days earlier on June 18th-05, Mountain http://www.mountaintheband.com/ . There'll be a stopover for Deep Purple in between on June 18th-05, at the Corel Centre in Ottawa, Ontario (Canada's capital city.) http://www.capitaltickets.ca/corelcentre/

Ian Gillan Set List at Healey's, Thurs. April 7, 2005:

Highway Star
Lazy
Sugar Plum
When A Blind Man Cries
Smoke On The Water
It'll Be Me (by Jerry Lee Lewis)

Ian Gillan's web site:
http://www.gillan.com/
Ian Gillan/Deep Purple Tour Dates:
http://www.thehighwaystar.com/tourdates/

Dave Murphy
Email: dave@davemurphyband.com
Web Site: http://www.davemurphyband.com/

Venue: Healey's
178 Bathurst St.
Toronto, Ontario, Canada
Phone: 416-703-5882
Email: inquiries@jeffhealeys.com
Web Site: http://www.jeffhealeys.com/