Lately, it seems as though everywhere I go, the Lemon Bucket Orkestra is there. The 15-piece band performed two shows for this year’s Luminato Festival, one as part of the Slaight Music Series at the Festival Hub and the other at the post-show event for the TSO’s annual late-night concert, and just this Thursday kicked off their first-ever Canadian tour with a concert at Lee’s Palace. And with their tour including stops in Toronto, Sudbury, Guelph, Montreal and Ottawa, we’re sure to be seeing them pop up at least a few more times before the summer is out.
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Tar virtuoso Araz Salek is certainly no stranger to hybrid musicking. Over the past handful of years he has also collaborated locally with musicians with South- and South-East Asian as well as experimental music pedigrees. Most recently he flexed his transcultural composer muscles on May 15, 2014 at the Music Gallery’s “Emergents” series concert, with a new work for the avant-garde Thin Edge New Music Collective.
Salek, an Iranian-born Torontonian, is however thoroughly trained in Persian classical music, and that’s where his true heart and passion lies. His instrument of choice is the tar, the six-string Persian long-necked waisted lute. With a double-bowl shape carved from mulberry wood and a thin membrane of stretched lamb-skin covering the top of the resonators, it is among the most prominent musical instruments in Iran and the Caucasus.
I started my fest experience with an early show on Friday evening at The Rex. The Jive Bombers supply the good times and great playing. I appreciate it when skilled musicians—like Gord Sheard on piano and John Johnson on sax—make it look easy and fun
The opening ceremonies of World Pride Toronto combined with the jazz fest opening on Friday night in Nathan Phillips Square. Deborah Cox brought the fabulous, in a sparkly gown on a stage set over the reflecting pool, then headliner Melissa Etheridge rocked out with her hits and took a "melfie"—a Melissa selfie—with the massive crowd there to see her.
Inuk diva Tanya Tagaq’s music has recently figured prominently in Toronto media outlets. Senior reviewer Robert Everett-Green’s insightful May 30, 2014 Globe and Mail article was titled “Primal scream: Inuk throat singer Tanya Tagaq is like no one you've ever heard, anywhere."
Ben Rayner, The Star’s pop music critic, went even further in his rave review of Tagaq’s just-launched album Animism, advocating that it “may be the finest, fiercest, most original Canadian album of 2014” (June 7, 2014). Other journalists added their own superlatives to the reception chorus. While this may appear to be a rare instance of Canadian hyperbole, I happen to agree.
LEIPZIG--Leipzig likes to think of itself as the city of music and with Johann Sebastian Bach having been one of its citizens for the last decades of his life, the annual June Bach Festival (Bachfest) becomes a natural high point of celebration.
This year it also became a high point of celebration for Tafelmusik, when the Toronto period-instrument orchestra was honoured by an invitation to be ensemble-in-residence, performing in the June 13 opening concert in St. Thomas Church (Thomaskirche) as well as two more in the other principal church of Bach´s day, the St. Nicholas (Nikolaikirche).
Since 2014 marks the 300th anniversary of the birth of Bach´s second eldest son, Tafelmusik, like many other performers in the ten-day, 100-plus event program, has embraced music by Carl Phillip Emanuel, including, in the opening concert, a Magnificat new to the players and so full of harmonic variety and melodic invention that it easily stood comparison with his father´s great D Major Magnificat, daringly programmed in the same concert.
Where to start with Toronto’s Evergreen Club Contemporary Gamelan? Perhaps it’d be best to mention that I was there at the group’s genesis, invited by its composer/founder Jon Siddall. Over three decades later I’m still a proud member of its roster of musicians with 30 concerts seasons, international tours, over 200 new works and ten albums under its collective belt. While my bias here is clear, my tenure with ECCG as musician, composer, arranger and past artistic director also ought to qualify me to speak about its past and present projects with passion.
The ECCG has the distinction of being Canada’s first group playing music on an Indonesian gamelan (orchestra). Recently it has been digging into its first decade of commissions of foundational Canadian and American music for gamelan, some not heard this century.
ECCG artistic director Blair Mackay makes a case for these early works. “There are a handful of works from the 1983-1993 era that formed the basis of the ECCG sound as well as our overall approach to playing the actual instruments.” The eight-member group presents these foundational compositions in two intimate June concerts at the Arraymusic Studio, 155 Walnut Ave., Toronto. The first was staged on June 15 and the second will happen on June 22 at 8pm.