Dr. John and The Count Basie Orchestra
at The du Maurier Jazz Festival in June 2002
-- by Joe Curtis --
So far I’ve seen two incredibly enjoyable performances in the “Big White Tent” at Nathan Phillips Square, at City Hall, as part of this week’s 2002 du Maurier Jazz Festival, running from Friday, June 21 to Saturday, June 28, 2002. The first of these was Dr. John and his 911 Band on opening night, Friday, June 21, 2002. The other was The Count Basie Orchestra, which was a real musical highlight for me at this year’s du Maurier.
Dr. John and his 911 Band were definitely the right place and right time to be at, in Nathan Phillps’ “Big White Tent” venue. Everyone in the good Doctor’s band played their hearts out all night long, with the skill and precision that only fine musicianship and dedication can achieve. The two main “hits” that Dr. John is better known for, “Right Place, Wrong Time”, and “Such A Night”, were played with all the vitality and joy that made them a hit originally, back in the mid ‘70’s. Some Funky/Jazzy numbers were done, with all out abandon by Dr. John’s 911 band. The bass player, David Barard, went wild on some mouth-watering bass solos which epitomized bass playing’s capabilities, knockin’ ‘em dead in the aisles. Herman “Rosco” Ernest’s energetic drumming was the real heart of the band. Hailing from New Orleans, he was in a band at one time with another New Orleans native, sax great Johnny Pennino, who’s been booked into Chuck Jackson’s Southside Shuffle in September. (Not to me missed!)
The real treat opening night at du Maurier was seeing and hearing Dr. John, whom I hadn’t seen perform live since his “Right Place … “ tour came to Massey Hall in 1974. The good Doctor must be taking his daily youth serum, because he hardly looks like he aged a day since then. His photo on the cover of the May 2002 MapleBlues is not really any older looking than he was in ’74 at blues great Muddy Waters’ birthday gig with Johnny Winter, Mike Bloomfield and Jr. Wells. I think that good music keeps you young, and good music it was, all night long.
Dr. John et al played several Duke Ellington numbers from Dr. John’s new CD, Duke Elegant! The arrangements and performance of them was everything one could ask for in good taste and delivery. Dr. John’s vocals were impeccable, and his band was always in the groove. They supported each other to the nth degree, allowing every member to shine through the best they could. The guitarist’s jazzy chords and leads were beautiful to hear and experience live. The arrangements for all the tunes showed depth and perception in their creation. I consider myself lucky that I was there that night.
The next musical milestone in my viewing pleasure came on the following Tuesday night, June 25, again at the Big Tent at Nathan Phillips Square. This time it was the biggest and best of all of the big time Big Band’s there ever was -- the impeccable Count Basie Orchestra. Big the band was - there appeared to be around 25 members in the band, and every one of them was the best the music business has to offer. Most of them believe it or not, played solos that night, and some of them several. They’re all so skilled in their craft, that to see them all together at one time in one place in the same band, is like being transported to musical Heaven.
There were two main hosts in the band that night, acting as MC’s for the various special performances that happened. One of these was renowned trombonist Bill Hughes who’s been in the Basie band since 1953. As I told others and they also told me, he doesn’t look any older than 53, let alone been in a band since then. Bill played some excellent trombone solos and was a very congenial host for the band. Another fine host was drummer extraordinaire, Butch Miles. I’ve seen some incredible drum solos in the past, but none like the one Butch played. Besides playing the standard melodic percussive thing, he took down the volume of playing and slowed down the speed as well, to a whisper, then … nothing! After a momentary pause to capture the wonderment of the audience’s attention, Butch reversed this by slowly and at a whisper, playing, then speeding it up and playing louder and louder as the velocity of drumming continued, by which time the whole band joined in at this feverish pace, blaring away in beautiful orchestrated harmony with each other.
Duke Ellington’s “In a Mellow Mood” featured five sax players out front, playing in rapid, breathtaking unison with each other. “Basically Yours” featured pianist Tony Sugs. He created a mysterious musical atmosphere with his arrangement of this piece. Neil Hefty’s “Fan Tail”, was a swingin’ number that featured a wild, carefree sax solo, followed by two soloing trumpets playing off one another’s licks. Another favorite (they all were), was “Good Times Blues” featuring upright bassist, James Euston Leary lll, who besides going wild on finger plucking, showed some humour, by switching to a bow and playing a little bit of “Old Man River” to the delight of the crowd who loved it. Sax great, Clarence Banks finished off this great tune, wailin’ away on the high notes like there was no tomorrow. The beautiful and romantic “You Are So Beautiful” was sang with deep emotional conviction by Danny, the only vocalist in the band. Danny also sang a great rendition of “Come Fly With Me”
After the encore, Bill Hughes announced “We’re outta here!”, to the crowd, who thoroughly having enjoyed the performance, roared back for more, which the band happily obliged. The last superb tune of the night took on the proportions of a huge jam session, where the whole band was standing up playing their own thing in total keeping with what everyone else was getting into. In a comedic musical move, bassist Leary lll, switched instruments with pianist Sugs, hamming up some riffs on each other’s instruments. (This is not a stuck up band!) *** While individual solos were going on, other musicians not playing were seen enamoured by the solos of those who were. The evening ended with an all-star, all-out blow-out, which sent the audience home with a true and wonderful feeling of having witnessed musical greatness!
Petula Clark, Live in Her ‘Oz’ Tour, at the Hummingbird Centre,
Toronto, Ontario, Canada, Monday, July 12, 2004
--by Joe Curtis --
Petula Clark, iconic pop singing star of the mid-1960’s; made a special appearance, performing at the Hummingbird Centre in Toronto, Ontario, Canada, on the night of Monday, July 12, 2004. For some attending this great concert, it was a chance to relive memories of their youth, when life was simpler, definitely less expensive, and in some respects a lot more fun! Some in the audience like the lady holding the Petula-autographed show brochure from 50 years ago in England, have been fans of Clark’s, longer than some in the audience have been alive. I hope this loyal fan of Pet’s got a chance to show her this brochure as she hoped she would. I’m glad I saw it! That was just one of the many special perks that came my way this evening!
From our great seats in the orchestra section, ‘M’ and I had a ‘bird’s eye’ view of this singing ‘bird’ (affectionately nicknamed ‘Pet’, decades ago in the UK, as a child star in the uncertain times of wartime England in the early ‘40s). From where we viewed the show, Pet didn’t look much older than she did in the mid-1960’s. Up close later in the evening when we met her, she still looked enchantingly beautiful -- and decades younger than her real age of 71. She sang many of her hits from the ‘British Invasion’ era, such as “Don’t Sleep In the Subway” and “My Love”. They were still just as vibrant and alive this night, as they were when many of us in the audience were school-age pre-adolescents and teenagers - listening to them for the first time on CHUM AM radio here in Toronto. The longevity of these songs, was a refreshing and highly entertaining musical revelation for me, as well as for my girlfriend ‘M’, and for several others I spoke to during intermission and at the end of this captivating two and a half hour extravaganza. The time went by far too fast, but the entertainment came across just right, throughout this entirely tantalizing performance.
Petula was accompanied this night by a nine-piece orchestra -- some of whom are part of the Toronto Symphony. Pet’s music director, Kenny Clayton, played the grand piano to perfection, warming up the audience at the beginning of the first great set. He did so in the second set too, when he tinkled the ivories with some upbeat, highly delightful blues, he calls “Pet’s Blues”. Clayton told me later that it’s always a different off-the-cuff blues rendition, but nevertheless appropriately retains Ms. Clark’s name in its title. Wearing a ‘40s-style fedora, he looked every inch the Humphrey Bogart-era blues man - evoking images of a smoky bar, from the days when blues wasn’t so fashionable or lucrative as it is today.
Having now mentioned the incomparable ‘Bogey’, brings to mind the unforgettable tune “As Time Goes By” -- immortalized by ‘Sam’ the piano player in the Bogart movie classic, ‘Casablanca’. Petula sang an absolutely enchanting version of this well-loved tune; performing it with all the sincere devotion one could desire. Her vocals touched the heart with every note; and the audience’s applause afterwards, reflected their genuine appreciation from seeing it sung so well! Clayton’s piano accompaniment in this tune, sounded just right, and helped the moment come alive in a very special way, as if ‘Sam’ and ‘Bogey’ were still with us.
Some of Petula’s fans might have only come to hear the hits; but I’m sure went away feeling that some of their all-time favorites of another era, were also performed with all the warmth and affection that an enduring song deserves. In regards to ‘enduring’, Pet’s classic 1960s hits stood the rigors of time quite well. “Don’t Sleep In the Subway”, was the first of these hits we heard. It came across as fresh as it did in the ‘60s; and also as full of life as it did when I recently saw Pet in the Phil Spector-produced 1966 live concert movie, ‘The Big T.N.T. Show’, from Hollywood, CA. When that same spark from the ‘60s can still be heard and seen today, as it was at the Hummingbird Centre performance July 12th; this really says it all about the longevity of a truly meaningful song. Petula put on a great performance; singing those well-loved hits with so much enjoyment in her stage presence, that it felt as if they’re being heard now, for the very first time.
Due to the length of this show, a few of Petula’s popular hits had to be sung in medleys, in order to leave time for some of the more current tunes in her fabulous repertoire. “Kiss Me Goodbye”, “My Love” and “Downtown”, were entitled the 'Love Medley’. It was heartwarming and very meaningful, to see her actually perform these songs we all love, right before our very eyes. The energy that Pet put into these all-time favorites of hers, showed that she loved singing them, just as much as we in the audience loved hearing them, and watching her sing them - from our hearts to hers, and vice versa.
One of my favorite tunes performed this night, was the Trini Lopez hit, “Call Me”. It was part of a ‘60s medley during the first set, which began with the Pet Clark mega hit, “Sign of the Times”. What a blast it was, hearing “Sign of …”, just as fresh sounding as if it was just recorded. This blockbuster medley, which also included another great ‘60s hit, “Round Every Corner”, came across very well indeed!
I felt that the most personally emotional moment for Pet this entire evening, occurred near the end of the first set, when it was learned her co-star in the 1968 Fred Astaire movie ‘Finian’s Rainbow’, Don Francks, was in the audience. Pet immediately upon hearing this good news, asked Francks to come down to the stage and sing a song with her. She was about to go into another tune, anticipating Francks would be coming to the stage later in the evening. However, he magically appeared in front of her shortly after his ‘call to the stage’ was heard. After a brief and heartwarming ‘getting reacquainted’, Francks and Petula sang an impromptu version of “Ol’ Devil Moon”. Francks was in fine vocal form, singing a low baritone to Pet’s multi-range vocals, that hit the highs and some very low tones; demonstrating what a remarkable range Pet’s clear, resonant vocals are capable of. (This musical fact regarding Pet’s vocal range, was mentioned to me by “M’, while we were being mesmerized by this truly magnificent performance). Petula made mention around this time, that dancing with the great Fred Astaire, was natural and fun. She told the eager audience, that Astaire complimented her at the time, by telling everyone, “I danced with ‘Her’!” I’m sure that must be one of the biggest highlights and fondest memories for Ms. Clark, in her long, illustrious career.
Speaking of ‘high points’ - Petula shared a story with the audience of the time when she lived in Switzerland, and she met the great Charles ‘Charlie’ Chaplin. The ‘Little Tramp’ invited Pet to his house for tea - both being English, it seems like a natural occurrence - and while there, he entertained her on the piano with some of his original compositions - one of which is the all-time favorite “Smile” (When Your Heart Is Breaking). After we heard this very entertaining anecdote from Ms. Clark’s life, she promptly went to the grand piano and while playing it, entertained us with a beautiful solo vocal rendition of that very same “Smile” -- bringing a ‘smile’ or two to the hearts and souls of many in the audience. This was part of a 3-song Chaplin medley also featuring the beautiful “Eternally Yours”, and the unforgettably rousing “This Is My Song”.
At times throughout this evening’s festivities, Petula went to the front of the stage, and in true English Music Hall fashion, encouraged the audience to sing and clap along, to several of her fun-loving tunes. I remember seeing Ringo Starr also entertain his audience this way at times, at Casino Rama in Orillia, Ontario in 2001, in the same friendly English Music Hall tradition. This sort of one-on-one communication with the audience, is a lot of fun for everyone concerned - fans and performers alike.
Petula sang some of her own compositions, whose lyrics were intelligent, easy to understand, sensible, and highly entertaining. They allowed me to realize that Pet’s a great songwriter, as well as a great performer. She recited an interesting English stage-type poem of hers at one point, which I found engrossing. She then talked about the 9/11 tragedy in New York City from 2001, and how personally devastating it was to her. She has a daughter who was living in NYC at the time, with whom there was no communication for a few days when this cataclysmic event happened. Through it all, Pet composed a song appropriately titled “Losing My Mind”. Its lyrics reflect her anxiety about this uncalled for event, through which her creative side was able to deal with what happened that fateful day that changed the world, forever. Not only is this a great song, but also illustrates quite well, how the creative side of us, can be a positive release for tragedies of all kinds that beset us at times - which is exactly how and why the blues genre itself, came into being.
While still in this dramatic mode, Petula donned the red and black satin cape, she wore as Norma Desmond in the play, ‘Sunset Boulevard’. She then proceeded to entertain us with an elegant version of “One Look”, which included a short intro about the play, and who her character was in it.
At a few points in the proceedings, Pet sang a couple of songs in French, to the delight of the audience. These were songs written by a friend and neighbor of Pet’s while living in France. They were highly entertaining tunes, which I thoroughly enjoyed. The audience seemed to feel the same way, with their energetic applause after these songs were performed. They added a sense of class to the proceedings, which these days is a much-desired rarity.
The final tune of this evening, preceding the encore, was a medley of all-time Petula Clark hits, which she sang with exuberance, combined with the love of pure entertainment. They were called the ‘Love Medley’, and consisted most notably, of the ever popular “Downtown”, and the rousing, invigorating “My Love”. It was such a joy to hear and actually see Petula sing these all-time favorites of mine, with such dedication and joy, that the experience is almost indescribable. After this spectacular and well put together medley ended, and the thunderous standing ovation occurred, Pet went to the front of the stage, and greeted her fans - shaking hands with them, and smiling genuinely to many of them - including this awestruck writer! She then proceeded to sing the encore of this unbelievably beautiful evening, aptly titled “I Couldn’t Live Without Your Love”. She sang it with all the love for an audience that the best of performers have for their fans, when they entertain. The audience went wild with excitement and appreciation - many advancing to the stage, to be near their music ‘idol’. Petula received another hearty standing ovation at the end of this fabulous encore, to an extremely entertaining evening of song and merriment.
I thought I’d add, that towards the end of this exquisite encore, but before it was over, I saw one woman in front of me, turn away from the stage and walk toward the back of the room. Her face was absolutely overwhelmed with emotion, as if she was going to cry - this kind of feeling can only be engendered by a fan’s true love for an artist and the performance this artist evokes in their fan’s heart. I’m happy I witnessed this reaction in Pet’s female fan. It helped me to realize just how important this Petula Clark concert was to many of her devoted fans in attendance. I also feel the same way about this extremely special musical experience with Pet Clark in my own life, having been a big fan of hers since I was a child. I vividly remember listening to Pet’s live appearance on CHUM AM radio here in Toronto in ‘66; just hours before her performance at Maple Leaf Gardens. Her voice sounds the same now!
I’ll never forget what a special, uplifting experience this past evening’s concert was for me, personally. I believe that the fans who enjoyed Petula’s vibrant personality onstage, as well as those lucky enough to meet her after the concert was over (as ‘M’ and I did); will always have a place in their hearts for Petula Clark - the entertainer, and the lady herself. I feel assured that most if not all of us, feel a sense of gratitude to Pet Clark, for sharing this unforgettable and highly memorable evening of great entertainment with us all.
For those of you who’d like to know more about Petula Clark -- her bio, concert schedule, rare photos, etc. -- her official website is: http://www.petulaclark.net/. It’s a fun site to visit, but even more fun to see her in person. You can also read some personal anecdotes and inside stories about Pet, in a chapter of an autobiography written by her close friend and Canadian publicist Gino Empry. The book’s entitled ‘I Belong To The Stars’. Gino’s engrossing and highly entertaining stories about Ms. Clark and other super stars of entertainment he’s known and worked with, makes this a fascinating book to read. ‘I Belong To …’ features a beautiful photo of Petula and Gino on its cover, with several others of Petula, in a chapter devoted to her and singing star Tony Bennett. It’s available in better book stores, as well as directly from Gino Empry himself, at his official website: http://www.ginoempry.com/
The Hummingbird Centre
1 Front St. East (SE corner of Yonge St. & Front St. E.)
Toronto, Ontario
Canada
Telephone: 416-393-7469
Fax 416-393-7454
Email: info@hummingbirdcentre.com
Website: http://www.hummingbirdcentre.com/indexf.htm
Virtual Tour: http://www.hummingbirdcentre.com/tour.htm
Petula Clark link: http://www.hummingbirdcentre.com/petula.htm
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THE HUMMINGBIRD CENTRE
Petula Clark ‘Oz’ Tour - Hummingbird Centre, Toronto, Ontario, Canada,
Setlist - Monday, July 12, 2004
TORONTO,CANADA
JULY 12, 2004
ACT 1
"WHO AM I"
"WEDDING SONG"
"DON"T SLEEP IN THE SUBWAY"
"I'M NOT AFRAID"
Charlie Chaplin medley: "ETERNALLY"/"SMILE"/"THIS IS MY SONG
"I KNOW A PLACE"
"LOOK TO THE RAINBOW"
"OLD DEVIL MOON" (impromptu duet with Don Francks, a surprise guest in the audience)
"YOU & I"
"COLOR MY WORLD"
"MARIN"/"SAILOR"
60s medley: "ROUND EVERY CORNER"/"CALL ME"/"DON'T GIVE
UP"/"THE OTHER MAN'S GRASS (Is Always Greener)"
"TELL ME IT'S NOT TRUE"
ACT 2
"IF I ONLY HAD YOU/ JUST ME, JUST YOU"
"COUER BLESSE"
"STARTING ALL OVER AGAIN"
"A SIGN OF THE TIMES"
Theatre poem
"LOSING MY MIND"
"I NEVER DO ANYTHING TWICE"
"WITH ONE LOOK"
"MEMORIES OF LOVE"
Love medley: "YOU'D BETTER COME HOME/KISS ME GOODBYE/MY
LOVE "DOWNTOWN"
Encores: "HERE FOR YOU" & "I COULDN'T LIVE WITHOUT YOUR
LOVE"
As Petula left the stage at the end of DOWNTOWN, the audience (numbering just below 2,000 we were told) was uniformly on its feet with a standing ovation, with many running down through the aisles to get to the stage to touch Petula's hands as she came out for the encores.
Once again , Petula captivated the audience - and Toronto responded in kind with an enormous show of affection and appreciation.
Stephen Allott,
Las Vegas
-- by Joe Curtis --
The Orbit Room in Toronto, Ontario -- known for its high caliber of funk, R&B and blues -- came up with a stellar all-star cast of musicians on Tuesday, May 25, 2004. Guitarist Domenic Troiano (hailed as one of the very best to come out of the ‘Toronto Sound’ music explosion of the mid-60s in Canada), along with the other awesome players that night, created true, modern-day musical masterpieces, in two mind-boggling 90 minute sets that evening.
Accompanying Troiano on Hammond B-3, was Doug Riley. Riley is founder of late ‘60s Toronto band, Dr. Music and many others - and is touted by many as the finest B-3 player in Canada, and one of the best in the world. Added to this impeccable lineup of talent is Howard Ayee on bass, who was at one time bassist for iconic ‘70s-‘80s Canadian rock band Rough Trade.
This specially put together combo also features the fine drumming and percussion talent of Ben Riley on drums. Ben is Doug’s son, and has been playing drums since he was three - (by simple coincidence, the elder Riley, began playing piano when he was three, too - no wonder he’s so good at it!).
There were several musicians and media types in the audience that night, including keyboard master Mike Fonfara (Downchild, ex-Electric Flag/Lou Reed).
Troiano and the others performed some of the most amazing jazz, blues and R&B you could ever hope to hear in one concert at one time. Some of the intricate, thoughtful, jazzy chords and melodic leads Troiano ingeniously created, boggled the mind to listen to - all were purely crafted genius! Doug’s accompaniment on B-3 was the quintessential complement to Troiano’s guitar ingenuity, as were his out-of-this-world B-3 solos and intricate harmonic rhythms. Ayee’s bass lines kept the groove going, with pleasing root note accompaniment, and all-too-few but totally amazing bass solos. The arrangements were tastefully and masterfully performed by all -- including Ben’s always in-the-groove drumming. Nothing was overdone or underdone that night --- a totally appetizing musical smorgasborg, in just the right helpings, so as to be enchanting, without being overwhelming.
In the first of two captivating sets, Troiano, as well as the two Riley’s, with Ayee on bass, warmed up the eager audience with an amazing rendition of the jazzy Bush hit, “Turn Down”. Domenic’s inspired guitar soloing ‘turned on’ the enthusiastic audience in a big way with this number; as did Doug’s ingenious B-3 riffs; backed impressively by Ben’s drumming and Ayee’s bass excellence.
The already-‘electric’ atmosphere at the Orbit that night, was thoroughly enhanced with a sweet, romantic version of the Troiano original, “Lonely Girl”. This tune is my favorite pick from Domenic’s recently released CD, ‘20th Century Masters - The Best Of Domenic Troiano - the Millenium Collection’, available through Universal Music. This spectacular compilation features “Turn Down”, as well as the classic Mandala hit “Opportunity”. There are several other incredible Troiano originals in this compilation, including the Bush classic, “I Can Hear You Calling”. I highly recommend this impressive, entertaining CD, as a ‘must’ for any Troiano fan’s music collection.
My personal favorite from the first set, was the heartwarming Stylistics’ romantic R&B hit from the ‘70s, “You Make Me Feel Brand New” - it was both deep and insightful. A Latin samba Troiano original from the ‘70s, entitled “Melting Pot”, featured an incredible drum solo by Ben, that helped finish the first set with a bang!
The talent and performance on every tune in the first set (as well as in the second) was flawless -- with energy abounding! I thought I’d mention that original Mandala vocalist George Olliver, was in the Orbit Room audience that night, enjoying this fine performance, too. It was great to see George there. I’ve attended many of his awesomely energetic and highly entertaining performances over the years.
In the second exceptional set, while introducing “Eleanora Fagan” to the packed and discerning Orbit Room audience, Domenic informed us that ‘Eleanora Fagan’ was the real name of jazz diva Billie Holiday. (That little bit of music history helped add interest to an already terrific tune, and evening). “Eleanora …” hit ‘outer space’ as the intricate leads and guitar rhythms Troiano came up with; were added to with zest and flair by Doug on B-3. Ben and Howard were able to offer their own unique contributions on drums and bass respectively, helping “Eleanora …” transcend the original recording (available on Dom’s newest ‘Best Of’ CD), to reach new heights of interpretive excellence.
Another inspired tune put across by this very special four-piece combo, was the Beatles song, “Eleanor Rigby” - a wise choice in name association and musicality with the previously mentioned “Eleanora …”. Domenic’s intricate, jazzy guitar leads, which began this ‘Fab Four’ hit, hinted only slightly at the well-loved Beatles’ classic. However, this rendition, came across as a totally unique, original creation - as only a master guitarist like Troiano can magically conjure up. A few times in this tune, the orchestrated and well-balanced familiar melody of “E. Rigby” came through - but exquisitely unlike anything you’ve ever heard before. You really had to be there to appreciate how great it sounded. Doug’s soloing and harmonies on the B-3 were breathtaking - and added great variety to this much-loved Beatles’ song.
Spectacular Latin rhythms abounded in Cannonball Adderly’s impeccable “Jive Samba”. Ben excelled on the skins with imagination and execution on this one, as did Troiano’s incredible guitar wizardry, drawing every nuance out of each and every highly musical passage. Ayee’s bass went wild here, spurred on by the unrelenting ‘fire’ that Doug unleashed from his smokin’ B-3.
Doug again excelled on B-3 in the Jimmy Smith tune, “The Cat”. He provided the quintessential interpretation of this all-time Smith classic, with some wild, jazzy riffs that knew no bounds! Domenic’s guitar rhythms and solos helped the mix simmer nicely, with Ben’s energetic drumming and Ayee’s bass lines helping to drive this winner home! An incredible choice of tunes like “Burnin’ at the Stake”, and “A Change Is Gonna Come”, really helped accentuate the high quality of musical output at the Orbit that night.
The final spectacular tune of this very special evening, was Freddie King’s “The Stumble”. The whole band went ballistic on this King classic, with some of the finest leads, soloing and heavy-duty rhythm playing around. This superb piece drifted into a totally ballistic blues jam that went places with the players’ imaginations and talent that were mind-boggling. This was the absolutely perfect ending to a stunning performance by an all-star roster of players, who know how to entertain an audience the best way there is. The audience’s reaction was ecstatic in its appreciation -- loud applause and screams for “More” -- as it should be, when the quality of music is this good! It was a great pleasure to be present at such a fine performance as this, at the Orbit Room, in Toronto that night.
Artist: Domenic Troiano
Domenic Troiano Offical Website: http://www.geocities.com/domenic_troiano/dommain.html
http://www.geocities.com/domenic_troiano/left.html
Domenic Troiano link: http://www.thecanadianmusicscene.com/artists/ardomenictroiano.html
Mandala link: http://www.ericknelson.net/GO/Mandala.htm
George Olliver link: http://www.georgeolliver.com
Artist: Doug Riley
Doug Riley/’Dr. Music’ bio/info (in Canadian Music Encyclopedia):
http://www.canoe.ca/JamMusicPopEncycloPagesD/drmusic.html
Doug Riley: (bio in Canadian Music Scene): http://www.thecanadianmusicscene.com/artists/ardougriley.html
The Orbit Room
580 ‘A’ College Street (2nd floor)
Toronto, Ontario
Canada
M6G 1B3
phone: (416) 535-0613
Website: http://www.orbitroom.ca/
Chris Whiteley - ‘while I’m here’
-- by Joe Curtis --
Chris Whiteley’s most recent solo effort, ‘while I’m here’, is relaxing, upbeat, funny, sad … and beautiful to hear. The first song on this very admirable musical achievement, is the sad, beautiful and nostalgic “The Week That Ernie Died”. It’s a sincere, heartfelt dedication to Whiteley’s friend, (and Canada’s own children’s TV show host favorite), ‘Mr. Dressup’ -- known to his many ‘adult’ friends as Ernie Coombs. The fond reminiscences Whiteley shares with us in this song are sentiments many in Canada and elsewhere also feel. Whiteley’s muted-trumpet ending sums things up nicely.
“Jeanette” has some pleasing, romantic reminiscences in it. Whiteley’s trumpet solo along with John Sheard’s piano solo adds some class to this tune. The background horns give it a full sound. “I’ve Got the World On a String” is an upbeat swingin’ Harold Arlen composition. Its airy qualities are a perfect mood enhancer. John Deehan’s sax solo is superb. Sheard’s tinkling on the ivories adds to the happy mood, as does Whiteley’s upbeat trumpet solo.
“You Left Me Nothin’ But the Blues”, shows off Whiteley’s bluesy side nicely. His vocals echo the sentiments of lost love and bad times in romance. Added to this is Whiteley’s deeply emotional harmonica solo. “Warm Summer Rain” is an upbeat, jazzy fun tune. Love’s in the air in this one, with Whiteley singin’ about it in the ‘warm summer rain’. Deehan’s uplifting tenor sax solo goes well with Sheard’s lilting piano riffs. Victor Bateman’s bass accompaniment hits the mark with every pulsating beat. “For a Long, Long Time” hearkens back to the sentimental ballads of days gone by. Whiteley’s long, harmonica solo intro to this winner, is very enjoyable to hear. Mark Mariash’s drums are outstanding, as are Sheard’s piano riffs. They seem to sing in perfect unison with Whiteley’s storytelling vocals.
“Lost in a Fog”, features some beautifully ‘haunting’ muted-trumpet by Whiteley, along with Sheard’s fine jazz piano soloing. Deehan’s rousing tenor sax riffs stand out well on this one. “On the Green” starts of with a ‘Big Band’ horn sound, echoing friends parading happily to the golf course. It features more superb Whiteley trumpet soloing, followed by Deehan’s sax soloing excellence and Sheard’s keys creativity. Bateman’s bass solo is mouthwatering. “Some Musician Was to Blame”, is a funny, tongue-in-cheek jazzy blues poke at Nero, Mona Lisa, David & Goliath, and other ancient and historical figures. Whiteley’s exuberant harp solo on this tune is very inventive. He’s complemented well by Deehan’s sax solo and Sheard’s keys solo.
“When I’ll Get Over You” is the ultimate upbeat love song. Whiteley’s charming vocals tell the love of his life, that his love for her will leave when “Santa Claus is 90 pounds”, “When the birds stop singin’ in the trees” .. “Honey .. that’s when I’ll get over you!” This romantic tune says it all, to anyone who’s in love, and intends to stay that way -- which is a good idea. The upbeat instrumentals along with Whiteley’s vocals and incredible trumpet solo, tell it all right-from-the-heart.
“When I’m Gone” is a saddening and reflective Phil Ochs tune. Whiteley’s flugelhorn solo speaks volumes in interpreting the mood. The premise is that we should do what we can that’s important to us while we’re here, that we know we won’t be able to do when we’re ‘gone’ -- In other words, a life with less regrets. Not a happy song but makes a point, and is performed well, with a sensitive touch.
The encore to this fantastic CD is Duke Ellington’s immortal “Do Nothin’ Till You Hear From Me”. It begins with Whiteley’s superb trumpet solo intro - then Deehan’s sax solo answers back. “Do Nothin’ .. “ is upbeat, funny, beautifully arranged, and sung with finesse, style and real class by Whiteley. More foot tapping Whiteley trumpet soloing and Deehan sax soloing is just what the jazz doctor ordered. Chris Whiteley is a national music treasure here in Canada, as is this, his third solo offering, ‘while I’m here’.
Artist: Chris Whiteley
CD: ‘while I’m here’
Label: Independent # HTA14074
Chris Whiteley CD’s available through
www.amazon.com
www.amazon.com/uk
www.amazon.ca
Johnny Pennino -- ‘Ladies and Gentlemen … Mr. Johnny Pennino’
-- by Joe Curtis --
From the beginning to the ever lovin’ end, Ladies and Gentlemen … Mr. Johnny Pennino, is a pure joy to listen to. Man, what a sax player Mr. Johnny Pennino is!!! Incomparabe!!! He’s the kind of performer other sax players compare themselves ‘to’ .. and look up to -- without a doubt! Hailing from New Orleans, the ‘Jazz Capitol of the World’, Johnny grew up among the best musicians on the planet -- and is one of them, himself. How can he not be, when he has inborn talent; as well as having indelible musical influences like the great Louis Prima; Sam Butera’s immortal sax virtuosity, (Prima’s long-time sax player); Al Hirt’s trumpet genius; and Boots Randolf’s sax excellence to grow from. ‘Tin ears’ would fair well in that kind of musical environment.
Johnny is an inductee in the Louisiana Music Hall of Fame … deservedly so. Listen to this very fine and well-put-together CD, and you’ll realize why. Myles Tangedal, Johnny’s business manager, recorded it ‘live off the floor’ in Toronto, Ontario, at a Westin Harbour Castle corporate gig. I was there! The atmosphere of the room was warm and friendly that night, even though it was a cold, wintery night outside, Tues. February 5, 2002. I remember it like it was yesterday, and always will.
The immortal “Ebb Tide” starts off Johnny’s excellent choice of tunes on this very fine CD. Rippling waves of music from the hands of Johnny’s long-time sidekick Richie Ladner on keys, gives birth to Johnny’s soul inspiring sax solos all the way through this unforgettable melody, loved the world over. The only difference this time round, is that Johnny takes this familiar melody, and transcends to ‘music heaven’ with it, via his superb sax mastery. Robin Boers’ melodic drumming, seems to sing percussively on this beautiful tune. Angelic piano riffs contributed by Richie, complete this musical picture for the listener.
Johnny takes his sax on a breezy walk through “Tuff”. This delightful tune is reminiscent of the days when couples actually danced cheek-to-cheek -- and loved it! “Bourbon Street Parade” is a real New Orleans-style rouser, guaranteed to get everyone onto the dance floor; kickin’ their heels up in true New Orleans Mardi Gras Parade fashion. Richie’s expert piano solo on “Bourbon …”, helps keep the flow of energy going, with imagination and finesse. Johnny’s effortless melodic sax playing on “Bourbon ..”, demonstrates vividly how much Johnny enjoys playing music that’s full of life. A catchy, toe-tapping bosa nova like “Desafinado”, is skillfully intermingled with the sweet serenity of a moody tune like “Harlem Nocturne”.
“The Shadow of Your Smile” is sweet, romantic and heartfelt all the way through. Johnny’s sax playing ‘screams’ of lost loves -- and hopes for reconciliation … a musical prayer for the ears. Richie completely outdoes himself on keys on this one; giving it all he’s got with rippling, melodic solos and whimsical, chordal harmonies. Although an instrumental, the moment Johnny’s immortal sax starts playing the melody to “Autumn Leaves”, I immediately get the image in my mind of a young Keely Smith swaying to the rhythms of Louis Prima’s orchestra, while getting ready to sing the words to this thoroughly enjoyable tune. When Richie’s piano riffs come in, images of Keely standing alluringly near the piano, vividly come to mind. “Besame Mucho”’s latin rhythms say much with little effort, on this imaginative composition.
I would wager that if there’s a Heaven and the unforgettable Judy Garland is there, she would probably love to listen to Johnny’s beautiful rendition of “Somewhere Over the Rainbow”. Its melody has been a favorite of mine since childhood, when I first saw ‘The Wizard of Oz’ with child actress Garland in the starring role as Dorothy. Richie’s vocals on this one, seem to be hearkening back to childhood memories -- when the ‘Wicked Witch of the West’ WAS REAL; but so were the ‘Munchkins’, and the ‘Great Oz’ himself!!!
“Time After Time” features Johnny’s clear, operatic-like yet wholesome vocals and rousing sax melodies; coupled with Richie’s warm piano riffs and Robin’s stimulating drumming. Robin has been drummer for ‘Toronto Sound’ band The Ugly Ducklings for decades; ever since Toronto’s posh Yorkville area was a middle-class ‘hippy haven’.
“When You’re Smilin’”, is a rousing party tune, featuring Johnny and Robin goin’ at it full throttle, on sax and drums. Richie’s rough-edged vocals on this one, evoke the feel of a smoke-filled New Orleans speakeasy from the golden age of Prohibition. Included in this rousing medley is Prima’s “Oh Marie”, given a fine treatment on vocals by Richie. His rousing vocals on “Hello Dolly”, (also part of this tri-tune medley), would I’m sure, get a smile and commendation from the late, great Louis Armstrong himself! This entertaining musical trio, is nicknamed “Around the World”.
Johnny’s soulful sax riffs on “September Song” seem to reach back to a long-ago romance, as if to say, ‘sorry you’re gone’. The heartbreak of “September … “ is soon broken by Johnny’s powerhouse sax playing and Robin’s energetic drumming on “A Foggy Day”; which is anything but, in mood and interpretation. Richie’s brief vocals are a welcome addition to this tune.
The last incredible song on this magical, musical odyssey, is Carlos Santana’s “Europa”. Johnny takes ‘Rock God’, Santana’s immortal tune to ‘seventh heaven’. Johnny’s melodic sax riffs hit highs in interpretation and feel on “Europa”, that could bring tears to the soul itself! All in all, the 64-plus minutes of enchanting music on this very ‘live in Toronto’ CD is something ‘the angels put together’; so we can have a little bit of Johnny’s heavenly sax playing right here on earth!
Artist: Johnny Pennino
CD: ‘Ladies and Gentlemen … Mr. Johnny Pennino’
Label: MT Productions # MT2-001
CD sales/artist bookings: Myles Tangedal: mtangedal@sympatico.ca (Canada)
CD sales: http://www.cdbaby.com/cd/pennino (International)