Dead Can Dance

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Dead Can Dance is a new group to me. Heard them for the first time a couple days ago. When it played I couldn’t speak. I was lost in the odd combination of melody, words and harmony. It was very strange, like two different songs playing at the same time. But somehow it made sense.

There is a Baroque feel to some of their music. Sometimes they sing hymns from the 1400’s. That’s just too cool.

There are plenty of videos of them on YouTube.com so you can check them out. I would describe it as dark, Euro-world music. The male singer sounds like a ringer for Jim Morrison of the doors. The female vocalist has more of an Enya quality in some songs.

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DEAD CAN DANCE

Assigning a musical genre to Dead Can Dance is difficult, as its style is particularly eclectic. However, its early work could be considered “darkwave”. In their later work, including and subsequent to the release entitled The Serpent’s Egg, Dead Can Dance would take ancient or various musics from around the world as primary sources, with Gerrard singing glossolalia, giving it a very distinctive style. As a result, their later albums sound quite different from the first three. Various sources have labelled those latter releases as neo-classical, ethereal or dark world music

Dead Can Dance Discography

1984 – Dead Can Dance / 01 – Dead Can Dance – The Fatal Impact.mp3
1984 – Dead Can Dance / 02 – Dead Can Dance – The Trial.mp3
1984 – Dead Can Dance / 03 – Dead Can Dance – Frontier.mp3
1984 – Dead Can Dance / 04 – Dead Can Dance – Fortune.mp3
1984 – Dead Can Dance / 05 – Dead Can Dance – Ocean.mp3
1984 – Dead Can Dance / 06 – Dead Can Dance – East Of Eden.mp3
1984 – Dead Can Dance / 07 – Dead Can Dance – Threshold.mp3
1984 – Dead Can Dance / 08 – Dead Can Dance – A Passage In Time.mp3
1984 – Dead Can Dance / 09 – Dead Can Dance – Wild In The Woods.mp3
1984 – Dead Can Dance / 10 – Dead Can Dance – Musica Eternal.mp3
1984 – Dead Can Dance / 11 – Dead Can Dance – Carnival Of Light.mp3
1984 – Dead Can Dance / 12 – Dead Can Dance – In Power We Trust The Love Advocated.mp3
1984 – Dead Can Dance / 13 – Dead Can Dance – The Arcane.mp3
1984 – Dead Can Dance / 14 – Dead Can Dance – Flowers Of The Sea.mp3
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1986 – Spleen And Ideal / 01 – Dead Can Dance – De Profundis (Out Of The Depths Of Sorrow).mp3
1986 – Spleen And Ideal / 02 – Dead Can Dance – Ascension.mp3
1986 – Spleen And Ideal / 03 – Dead Can Dance – Circunradiant Dawn.mp3
1986 – Spleen And Ideal / 04 – Dead Can Dance – The Cardinal Sin.mp3
1986 – Spleen And Ideal / 05 – Dead Can Dance – Mesmerism.mp3
1986 – Spleen And Ideal / 06 – Dead Can Dance – Enigma Of The Absolute.mp3
1986 – Spleen And Ideal / 07 – Dead Can Dance – Advent.mp3
1986 – Spleen And Ideal / 08 – Dead Can Dance – Avatar.mp3
1986 – Spleen And Ideal / 09 – Dead Can Dance – Indoctrination (A Design For Living).mp3
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1987 – Within The Realm Of A Dying Sun / 01 – Dead Can Dance – Anywhere Out Of The World.mp3
1987 – Within The Realm Of A Dying Sun / 02 – Dead Can Dance – Windfall.mp3
1987 – Within The Realm Of A Dying Sun / 03 – Dead Can Dance – In The Wake Of Adversity.mp3
1987 – Within The Realm Of A Dying Sun / 04 – Dead Can Dance – Xavier.mp3
1987 – Within The Realm Of A Dying Sun / 05 – Dead Can Dance – Dawn Of The Iconoclast.mp3
1987 – Within The Realm Of A Dying Sun / 06 – Dead Can Dance – Cantara.mp3
1987 – Within The Realm Of A Dying Sun / 07 – Dead Can Dance – Summoning Of The Muse.mp3
1987 – Within The Realm Of A Dying Sun / 08 – Dead Can Dance – Persephone (The Gathering Of Flowers).mp3
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1988 – The Serpent’s Egg / 01 – Dead Can Dance – The Host Of Seraphim.mp3
1988 – The Serpent’s Egg / 02 – Dead Can Dance – Orbis De Ignis.mp3
1988 – The Serpent’s Egg / 03 – Dead Can Dance – Severance.mp3
1988 – The Serpent’s Egg / 04 – Dead Can Dance – The Writing On My Father’s Hand.mp3
1988 – The Serpent’s Egg / 05 – Dead Can Dance – In The Kingdom Of The Blind The One Eyed Are Kings.mp3
1988 – The Serpent’s Egg / 06 – Dead Can Dance – Chant Of The Paladin.mp3
1988 – The Serpent’s Egg / 07 – Dead Can Dance – Song Of Sophia.mp3
1988 – The Serpent’s Egg / 08 – Dead Can Dance – Echolalia.mp3
1988 – The Serpent’s Egg / 09 – Dead Can Dance – Mother Tongue.mp3
1988 – The Serpent’s Egg / 10 – Dead Can Dance – Ullyses.mp3
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1990 – Aion / 01 – Dead Can Dance – The Arrival And The Reunion.mp3
1990 – Aion / 02 – Dead Can Dance – Saltarello.mp3
1990 – Aion / 03 – Dead Can Dance – Mephisto.mp3
1990 – Aion / 04 – Dead Can Dance – The Song Of The Sibyl.mp3
1990 – Aion / 05 – Dead Can Dance – Fortune Presents Gifts Not According To The Book.mp3
1990 – Aion / 06 – Dead Can Dance – As The Bell Rings The Maypole Spins.mp3
1990 – Aion / 07 – Dead Can Dance – The End Of Words.mp3
1990 – Aion / 08 – Dead Can Dance – Black Sun.mp3
1990 – Aion / 09 – Dead Can Dance – Wilderness.mp3
1990 – Aion / 10 – Dead Can Dance – The Promised Womb.mp3
1990 – Aion / 11 – Dead Can Dance – The Garden Of Zephirus.mp3
1990 – Aion / 12 – Dead Can Dance – Radharc.mp3
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1991 – A Passage In Time / 01 – Dead Can Dance – Saltarello.mp3
1991 – A Passage In Time / 02 – Dead Can Dance – Song Of Sophia.mp3
1991 – A Passage In Time / 03 – Dead Can Dance – Ullyses.mp3
1991 – A Passage In Time / 04 – Dead Can Dance – Cantara.mp3
1991 – A Passage In Time / 05 – Dead Can Dance – The Garden Of Zephirus.mp3
1991 – A Passage In Time / 06 – Dead Can Dance – Enigma Of The Absolute.mp3
1991 – A Passage In Time / 07 – Dead Can Dance – Wilderness.mp3
1991 – A Passage In Time / 08 – Dead Can Dance – The Host Of Seraphin.mp3
1991 – A Passage In Time / 09 – Dead Can Dance – Anywhere Out Of The World.mp3
1991 – A Passage In Time / 10 – Dead Can Dance – The Wrtiting On My Father’s Hand.mp3
1991 – A Passage In Time / 11 – Dead Can Dance – Severance.mp3
1991 – A Passage In Time / 12 – Dead Can Dance – The Song Of The Sibyl.mp3
1991 – A Passage In Time / 13 – Dead Can Dance – Fortune Presents Gifts Not According To The Book.mp3
1991 – A Passage In Time / 14 – Dead Can Dance – In The Kingdom Of The Blind The One Eyed Are Kings.mp3
1991 – A Passage In Time / 15 – Dead Can Dance – Bird.mp3
1991 – A Passage In Time / 16 – Dead Can Dance – Spirit.mp3
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1993 – Into The Labyrinth / 01 – Dead Can Dance – Yulunga (Spirit Dance).mp3
1993 – Into The Labyrinth / 02 – Dead Can Dance – The Ubiquitous Mr. Lovegrove.mp3
1993 – Into The Labyrinth / 03 – Dead Can Dance – The Wind That Shakes The Barley.mp3
1993 – Into The Labyrinth / 04 – Dead Can Dance – The Carnival Is Over.mp3
1993 – Into The Labyrinth / 05 – Dead Can Dance – Ariadne.mp3
1993 – Into The Labyrinth / 06 – Dead Can Dance – Saldek.mp3
1993 – Into The Labyrinth / 07 – Dead Can Dance – Towards The Within.mp3
1993 – Into The Labyrinth / 08 – Dead Can Dance – Tell Me About The Forest (You Once Called Home).mp3
1993 – Into The Labyrinth / 09 – Dead Can Dance – The Spider’s Stratagem.mp3
1993 – Into The Labyrinth / 10 – Dead Can Dance – Emmeleia.mp3
1993 – Into The Labyrinth / 11 – Dead Can Dance – How Fortunate The Man With None.mp3
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1994 – Toward The Within / 01 – Dead Can Dance – Rakim.mp3
1994 – Toward The Within / 02 – Dead Can Dance – Persian Love Song.mp3
1994 – Toward The Within / 03 – Dead Can Dance – Desert Song.mp3
1994 – Toward The Within / 04 – Dead Can Dance – Yulunga (Spirit Dance).mp3
1994 – Toward The Within / 05 – Dead Can Dance – Piece For Solo Flute.mp3
1994 – Toward The Within / 06 – Dead Can Dance – The Wind That Shakes The Barley.mp3
1994 – Toward The Within / 07 – Dead Can Dance – I Am Stretched On Your Grave.mp3
1994 – Toward The Within / 08 – Dead Can Dance – I Can See Now.mp3
1994 – Toward The Within / 09 – Dead Can Dance – American Dreaming.mp3
1994 – Toward The Within / 10 – Dead Can Dance – Cantara.mp3
1994 – Toward The Within / 11 – Dead Can Dance – Oman.mp3
1994 – Toward The Within / 12 – Dead Can Dance – The Song Of The Sibyl.mp3
1994 – Toward The Within / 13 – Dead Can Dance – Tristan.mp3
1994 – Toward The Within / 14 – Dead Can Dance – Sanvean.mp3
1994 – Toward The Within / 15 – Dead Can Dance – Don’t Fade Away.mp3
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1995 – The Mirror Pool / 01 – Lisa Gerrard – Violina (The Last Embrace).mp3
1995 – The Mirror Pool / 02 – Lisa Gerrard – La Bas (Song Of The Drowned).mp3
1995 – The Mirror Pool / 03 – Lisa Gerrard – Persian Love Song (The Silver Gun).mp3
1995 – The Mirror Pool / 04 – Lisa Gerrard – Sanvean (I Am Your Shadow).mp3
1995 – The Mirror Pool / 05 – Lisa Gerrard – The Rite.mp3
1995 – The Mirror Pool / 06 – Lisa Gerrard – Ajhon.mp3
1995 – The Mirror Pool / 07 – Lisa Gerrard – Glorafin.mp3
1995 – The Mirror Pool / 08 – Lisa Gerrard – Majhnavea’s Music Box.mp3
1995 – The Mirror Pool / 09 – Lisa Gerrard – Largo.mp3
1995 – The Mirror Pool / 10 – Lisa Gerrard – Werd.mp3
1995 – The Mirror Pool / 11 – Lisa Gerrard – Laurelei.mp3
1995 – The Mirror Pool / 12 – Lisa Gerrard – Celon.mp3
1995 – The Mirror Pool / 13 – Lisa Gerrard – Venteles.mp3
1995 – The Mirror Pool / 14 – Lisa Gerrard – Swans.mp3
1995 – The Mirror Pool / 15 – Lisa Gerrard – Nilleshna.mp3
1995 – The Mirror Pool / 16 – Lisa Gerrard – Gloradin.mp3
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1996 – Spiritchaser / 01 – Dead Can Dance – Nierika.mp3
1996 – Spiritchaser / 02 – Dead Can Dance – Song Of The Stars.mp3
1996 – Spiritchaser / 03 – Dead Can Dance – Indus.mp3
1996 – Spiritchaser / 04 – Dead Can Dance – Song Of The Dispossessed.mp3
1996 – Spiritchaser / 05 – Dead Can Dance – Dedicacé Dutò.mp3
1996 – Spiritchaser / 06 – Dead Can Dance – The Snake And The Moon.mp3
1996 – Spiritchaser / 07 – Dead Can Dance – Song Of The Nile.mp3
1996 – Spiritchaser / 08 – Dead Can Dance – Devorzhum.mp3
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1998 – Duality / 01 – Lisa Gerrard – Shadow Magnet.mp3
1998 – Duality / 02 – Lisa Gerrard – Tempest.mp3
1998 – Duality / 03 – Lisa Gerrard – Forest Veil.mp3
1998 – Duality / 04 – Lisa Gerrard – The Comforter.mp3
1998 – Duality / 05 – Lisa Gerrard – The Unfolding.mp3
1998 – Duality / 06 – Lisa Gerrard – Pilgrimage Of Lost Children.mp3
1998 – Duality / 07 – Lisa Gerrard – The Human Game.mp3
1998 – Duality / 08 – Lisa Gerrard – The Circulation Of Shadows.mp3
1998 – Duality / 09 – Lisa Gerrard – Sacrifice.mp3
1998 – Duality / 10 – Lisa Gerrard – Nadir (Synchronicity).mp3
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1999 – Eye Of The Hunter / 01 – Brendan Perry – Saturday’s Child.mp3
1999 – Eye Of The Hunter / 02 – Brendan Perry – Voyage Of Bran.mp3
1999 – Eye Of The Hunter / 03 – Brendan Perry – Medusa.mp3
1999 – Eye Of The Hunter / 04 – Brendan Perry – Sloth.mp3
1999 – Eye Of The Hunter / 05 – Brendan Perry – I Must Have Been Blind.mp3
1999 – Eye Of The Hunter / 06 – Brendan Perry – The Captive Heart.mp3
1999 – Eye Of The Hunter / 07 – Brendan Perry – Death Will Be My Bride.mp3
1999 – Eye Of The Hunter / 08 – Brendan Perry – Archangel.mp3
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2001 – Box Set / CD 1 / 01 – Dead Can Dance – Frontier.mp3
2001 – Box Set / CD 1 / 02 – Dead Can Dance – Labour Of Love.mp3
2001 – Box Set / CD 1 / 03 – Dead Can Dance – Ocean.mp3
2001 – Box Set / CD 1 / 04 – Dead Can Dance – Orion.mp3
2001 – Box Set / CD 1 / 05 – Dead Can Dance – Threshold.mp3
2001 – Box Set / CD 1 / 06 – Dead Can Dance – Carnival Of Light.mp3
2001 – Box Set / CD 1 / 07 – Dead Can Dance – In Power We Entrust The Love Advocated.mp3
2001 – Box Set / CD 1 / 08 – Dead Can Dance – De Profundis (Out Of The Depths Of Sorrow).mp3
2001 – Box Set / CD 1 / 09 – Dead Can Dance – Avatar.mp3
2001 – Box Set / CD 1 / 10 – Dead Can Dance – Enigma Of The Absolute.mp3
2001 – Box Set / CD 1 / 11 – Dead Can Dance – Summoning Of The Muse.mp3
2001 – Box Set / CD 1 / 12 – Dead Can Dance – Anywhere Out Of The World.mp3
2001 – Box Set / CD 1 / 13 – Dead Can Dance – Windfall.mp3
2001 – Box Set / CD 1 / 14 – Dead Can Dance – Cantara.mp3
2001 – Box Set / CD 1 / 15 – Dead Can Dance – In The Kingdom Of The Blind The One Eyed Are Kings.mp3
2001 – Box Set / CD 1 / 16 – Dead Can Dance – Bird.mp3
2001 – Box Set / CD 1 / 17 – Dead Can Dance – The Protagonist.mp3
2001 – Box Set / CD 2 / 01 – Dead Can Dance – Severance.mp3
2001 – Box Set / CD 2 / 02 – Dead Can Dance – The Host Of Seraphim.mp3
2001 – Box Set / CD 2 / 03 – Dead Can Dance – Song Of Sophia.mp3
2001 – Box Set / CD 2 / 04 – Dead Can Dance – The Arrival & The Reunion.mp3
2001 – Box Set / CD 2 / 05 – Dead Can Dance – Black Sun.mp3
2001 – Box Set / CD 2 / 06 – Dead Can Dance – The Promised Womb.mp3
2001 – Box Set / CD 2 / 07 – Dead Can Dance – Saltarello.mp3
2001 – Box Set / CD 2 / 08 – Dead Can Dance – The Song Of The Sibyl.mp3
2001 – Box Set / CD 2 / 09 – Dead Can Dance – Spirit.mp3
2001 – Box Set / CD 2 / 10 – Dead Can Dance – Yulunga.mp3
2001 – Box Set / CD 2 / 11 – Dead Can Dance – The Ubiquitous Mr. Lovegrove.mp3
2001 – Box Set / CD 2 / 12 – Dead Can Dance – Sloth.mp3
2001 – Box Set / CD 2 / 13 – Dead Can Dance – Bylar.mp3
2001 – Box Set / CD 2 / 14 – Dead Can Dance – The Carnival Is Over.mp3
2001 – Box Set / CD 2 / 15 – Dead Can Dance – The Spider’s Stratagem.mp3
2001 – Box Set / CD 2 / 16 – Dead Can Dance – The Wind That Shakes The Barley.mp3
2001 – Box Set / CD 2 / 17 – Dead Can Dance – How Fortunate The Man With None.mp3
2001 – Box Set / CD 3 / 01 – Dead Can Dance – I Can See Now.mp3
2001 – Box Set / CD 3 / 02 – Dead Can Dance – American Dreaming.mp3
2001 – Box Set / CD 3 / 03 – Dead Can Dance – Tristan.mp3
2001 – Box Set / CD 3 / 04 – Dead Can Dance – Sanvean.mp3
2001 – Box Set / CD 3 / 05 – Dead Can Dance – Rakim.mp3
2001 – Box Set / CD 3 / 06 – Dead Can Dance – Gloridean.mp3
2001 – Box Set / CD 3 / 07 – Dead Can Dance – Don’t Fade Away.mp3
2001 – Box Set / CD 3 / 08 – Dead Can Dance – Nierika.mp3
2001 – Box Set / CD 3 / 09 – Dead Can Dance – Song Of The Nile.mp3
2001 – Box Set / CD 3 / 10 – Dead Can Dance – Sambatiki.mp3
2001 – Box Set / CD 3 / 11 – Dead Can Dance – Indus.mp3
2001 – Box Set / CD 3 / 12 – Dead Can Dance – The Snake & The Moon.mp3
2001 – Box Set / CD 3 / 13 – Dead Can Dance – The Lotus Eaters.mp3

The Canadian Hat Controversy

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So I had posted this photo last week of the Cirque band outside in Montreal, Canada. It was supposed to be one of those photos where people say, “Oh that’s cool, you’re playing with Cirque and there’s the band. Neat.”

Instead I get all these emails and notes saying, “Hey, how come every one is wearing a hat but you? Don’t you know it’s cold outside. Let me send you a hat.”

Thank you for the concern, but I don’t need one. Being Scandinavian, we are born with extra layers of blubber around our head. We’re not very smart because of that feature, but our heads are always warm.

That’s how we were able to row around the world pillaging you all. Now you know the secret.

Vince Seneri

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I got introduced to Vince Seneri’s music through a friend who is an executive producer on his project. Vince has a new Hammond B3 CD hitting the streets on March 1, 2008 and there’s already some buzz about it. He’s a seasoned player – check out his clips for yourself on his website at www.vinceseneri.com . The picture above is from one of his previous albums – his new CD release is called “The Prince’s Groove”.

I’ve never met anyone that didn’t like a well played Hammond B3.

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The Prince’s Groove – Advance Review

Vince Seneri – THE PRINCE’S GROOVE: Our first exposure to Seneri’s fantastic organ work was in issue #74 <http://zzaj.freehostia.com/Z74Reviews.htm> , & he’s outdone himself on this new CD (due for a March 1st release). As always, he’s got some stellar players with him, like Randy Brecker on trumpet & flugelhorn, Paul Bollenback’s guitar, Dave Valentin on flute, tenor sax from Houston Person, percussion by Richie Flores and Gary Fritz & (last but not least) Buddy Williams on drums. A track title like “Dearly Beloved” would make most listeners think “ballad” (as did I), but this is one of the most scorching Hammond B3 pieces I’ve ever heard… & the title track, a Vince original, is some of the mellowest jazz you’ll ever listen to. My favorite tune was “The Stinger”, composed by Seneri… it flows with sophisticated rhythm, & highlights each player without taking away from any of them… an absolute stunner! Mr. Seneri is (as of this moment) my favorite jazz organ player, & if you love jazz organ, you’ll share my sentiments there. This album gets our MOST HIGHLY RECOMMENDED rating, as well as the “PICK” of this issue for “best organ jazz”!

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Another Vince Seneri Review

How about three cheers for jazz journeymen? Cats who’ve been around for a good long while and can play the dickens out of their instruments yet do not qualify as stars — except to fellow musicians who know a genuine talent when they hear one. That’s what you get with Vince Seneri, a masterful keyboardist who cuts it up big-time on the Hammond B3 organ. The guy is a supreme groove-master on the level of such giants as Larry Young, Jimmy Smith and Jack McDuff. Less barbecue-style than those gents, Seneri has his own smooth, soulful sound that rides in the pocket. He also indulges in spirited improvisation that gamely pulls apart melody for sheer entertainment value. This weekend at Zanzibar Blue, Seneri is joined by Dave Valentin (flute), David “Fathead” Newman (sax) and Doc Gibbs (percussion) — all in all, a cool cast of jazz vets.

Eduard Harutyunyan

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Eduard Harutyunyan is a percussionist from Armenia and currently with the Cirque Du Soleil band for the Macau China show at the Sands Venetian. I’ve been getting to know him a bit in rehearsals. He is very serious about his craft and has a tight natural feel which he keeps in top shape daily. I’ll have more info on him down the road.

Road to Svara
Performance from Saturday, September 18, 2004 – 11:43 PM

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Armadam & Vahagn Hayrapetyan

Flute: Valeri Tolstov
Sax: Suren Kyarunts
Duduk, Zurna: Araik Mkoyan
Ud: Tarek Mustafa
Violancello: Artem Manukyan
Piano: Vahagn Hayrapetyan, Ruben Satyan
Guitar: Vardan Gasparyan
Bass: Artur Molitvin
Percussion: Eduard Harutyunyan
Drums: Alexander Grigoryan

“Time Report”

“Time Report” is one of the most popular jazz bands in Armenia, playing ethnic jazz. The original founders of the group are Khachatur Sahakian and Armen Hyusnunts, who produced their first album (Songs Without Words) in 1996. On the following year drummer Alexander Grigorian (Sash) and bass player Vardan Arakelian joined the duo.

The united band made its debut as “Time Report” in 1998. It conquered highest acclaims in the First International Jazz Festival in Armenia (Yerevan-98).

In 2000 percussionist Eduard Harutyunyan joined the group and drummer Arman Jalalian replaced Alexander Grigorian. In 2005, duduk and zurna player Vardan Grigorian joined the band.

The style of music of “Time Report” is defined as “ethnic-jazz”. Their arrangements of Armenian traditional songs and the colorful original compositions of each musician had placed the band at an advanced position on the modern Armenian jazz scene.

They have toured and performed in many countries of the world and participated in various jazz festivals.

Jay Elfenbein

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“Jay Elfenbein made his instrument roar, howl, slide and buzz… and he did so with virtuosity and flair.” – The New York Times 

I’ve been working with Jay Elfenbein in the Macau Cirque band and he’s pretty damn incredible. I guess what first caught my ear is how he can switch from early music to jazz at the drop of a hat. A swingin’ bass man and very knowledgable music historian with a passion for early music. And he’s got that loveable New York charm to boot so he’s a real catch for Cirque. I’ve been learning a lot from him about approaches to music and interpretation which has been awesome.

“Jay Elfenbein, who many regard as the finest medieval and renaissance musician in New York City, is as well an astoundingly unique jazz player, and a composer of undeniable brilliance.”

THE IVORY CONSORT – founded by Jay Elfenbein

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The Ivory Consort, founded and directed by Jay Elfenbein, is an ensemble that specializes in medieval music performed in an exciting and historically informed manner. For over ten years, they have brought ancient music to life on stage and over the radio with stunning clarity and brilliant improvisation. The Consort presents a fascinating mosaic of songs from the Golden Age of Spain, when Jews, Muslims and Christians forged a common musical language. With 10th through 13th century songs in Ladino, Hebrew, Arabic and Galician-Portuguese, the program provides a historical context for the intermingling of cultures before the 1492 Expulsion.

The Ivory Consort Jay Elfenbein (vihuela d’arco/vielle/rebab/psaltery/back-up vocals) “Jay Elfenbein made his instrument roar, howl, slide and buzz… and he did so with virtuosity and flair.” – The New York Times

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Bistro a JoJo – Montreal Canada

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Bistro a JoJo. Le Temple du Blues a Montreal. I listened to Carl Tremblay and friends live at Bistro a JoJo last weekend and it really rocked. 3am rolled around really fast and I didn’t want them to stop. Smoking guitar player ala Stevie Ray Vaughan, a Hammond B3 player they nickname “Animal” for good reason, rock solid drums and a bass player that rocked like Tower of Power. Carl Tremblay led them through great arrangements. Everything had a southern rock feel.

I got to meet Carl but he speaks French and I don’t know any – but he thumped his fist on his heart when I told him the name of the friend that sent me to the club to hear him. That’s good enough for me.

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Visit the Bistro a JoJo website at http://www.bistroajojo.com.

About the Bistro a JoJo in Francais:

Le Bistro à JoJo,
a été fondé le 2 août 1975 par Joe Lévis le propriétaire du fameux restaurant le Saint Malo situé en face du Théâtre Saint-Denis. . Il raconta qu’à l’époque il a dû ouvrir un endroit pas loin de son restaurant pour transférer sa clientèle grandissante qui y venait seulement pour boire un verre et ça durait souvent tout l’après-midi. C’est alors que Joe Lévis, surnommé JoJo, acheta une bâtisse à quelques pieds de son resto, où il y avait au sous-sol une petite librairie qu’il transforma vite en un bar très chaleureux situé au 1627 Saint-Denis appelé le Bistro à JoJo.

Après deux ans d’existence, soit en 1977, Joe Lévis (JoJo) vend l’immeuble à des actionnaires indépendants et le fond de commerce à Marc Botrel un Breton et François Tavernier un Belge, deux associés européens d’origine. Ils ont tenu le Bistro pendant 19 ans. Ce sont eux, avec la complicité de Jean Millaire, qui ont eu l’ idée de faire des spectacles de Blues au Bistro et ce fut le Johnny Blue Band qui a eu l’honneur d’ être le premier « Band » officiel à jouer pendant 2 ans à tous les lundis de 1985 et 1986 au Bistro. Ce fut le début d’une vocation musicale qui n’a jamais depuis, cessé de grandir. Mais à un moment donné les tensions montent entre les deux associés de longue date et le Bistro ferme ses portes en octobre 1996 après 21 ans de travail acharné

Pendant 2 mois le local du Bistro était à louer et les clients et artistes disaient que c’était comme passer devant un salon funéraire. La rue Saint Denis venait de perdre son institution Blues de 21 ans d’existence. C’était inconcevable de laisser un tel endroit changer de vocation

Et c’est là que je (Francis Chamberland) commence les négociations avec le propriétaire de l’immeuble qui était déjà en négociation pour louer le local à la chaîne de restaurant Dairy Queen. Mais j’arrive rapidement à une entente et achète le fond de commerce, et tous les équipements sur place, avec mes associés de l’époque, Carl Sprat et Élie Sabbath. C’est alors que nous ouvrons officiellement les portes du Bistro à JoJo dans un temps record après 2 semaines de travail acharné, le 16 décembre 1996. C’est Jimmy James qui fut le premier «Band» à jouer sur la nouvelle scène et un tout nouveau système de son. Ce soir là, le Bistro était plein à craquer, c’était très encourageant pour l’hiver qui s’installait, mais tout n’était pas si facile entre les associés pour les idées futures du Bistro. L’association ne dure pas longtemps avec Carl Sprat qui se retire en mars 1997 après 3 mois et par la suite Élie Sabbath me vend ses parts. Je deviens alors le seul et unique propriétaire après 10 mois d’association, soit le 15 octobre 1997.

J’ai su conserver l’ancien décor, mais en améliorant seulement les points faibles du Bistro. J’ai conservé intégralement le fameux bar original construit par Joe Lévis lui-même et beaucoup d’autres objets originaux s`y trouvent encore. Le décor intérieur et toutes les améliorations apportées, soit, le système de son, la scène, l’éclairage, la peinture, le bois sur les murs, les instruments accrochés un peu partout, sans oublier les boîtes murales contenants des objets d’artistes, ont toutes été imaginées dans ma tête dès que j’ai visité le local pour la première fois. Et quand nous avons installé la première guitare de Jean Millaire au centre du Bistro dans notre première boîte officielle, des guitares, des Félix, des disques d’or, ont commencé à arriver, par tous ces autres artistes et supporteurs du Bistro.

C’était l’association officielle des artistes Québécois avec le Bistro à JoJo qui venait supporter notre cause pour exposer leurs réussites sur les murs. Ceci enchante les grands admirateurs, et met le vent dans les voiles au Bistro à JoJo, qui était à l’époque, encore très fragile. Et rapidement les médias s’emparent de ce nouveau concept québécois et plusieurs journalistes supportent le nouveau Bistro dans sa nouvelle démarche. Ils écrivent plusieurs articles sur ces artistes exposés, et ensuite, de fil en aiguille, des lancements d’album comme Marjo, la grande Mentor du Bistro. Après toutes ses années les murs chantent Marjo, elle est l’artiste ayant le plus assuré l’avenir de «son Bistro», comme elle le dit si bien, d’où vient la fameuse rumeur qu’elle est la propriétaire de la place. Mais, ce n’est pas le cas, ça ne l’a jamais été non plus. Par contre, nous retrouvons ces 3 disques d’or exposés au Bistro et de nombreux objets personnels, dont plusieurs trophées et vêtements de scène y sont exposés.

Comment oublier Eric Lapointe, un autre artiste qui nous a toujours supporté depuis le tout début, qui a tourné plusieurs entrevues sur place au Bistro et qui est devenu notre artiste surprise par excellence de par ces nombreuses apparitions sur scène avec les Blues Men comme Carl Tremblay, Jim Zeller, Matt Laurent, Carlos Veiga et plusieurs autres. On peut retrouver aussi plusieurs objets de valeurs appartenant à Eric dont, un disque d’or, sa première guitare, un Félix et j’en passe. Bob Walsh a lui aussi sa place au centre parmi les nombreux autres artistes comme, Bob Harrisson, Steve Hill, Carl Tremblay, Jim Zeller, etc.

Aujourd’hui le Bistro à JoJo est l’endroit par excellence des artistes pour des nuits magiques inoubliables, ce qui charme à tous les soirs notre clientèle mélomane du Bistro, qui continue toujours de croître en grand nombre. L’ambiance extraordinaire et le personnel toujours aussi attachant nous placent aujourd’hui comme le NO 1 du spectacle Blues à Montréal et grâce à nos spectacles de Blues 7 soirs sur 7, nous avons pu faire connaître un très grand nombre d’artistes de Blues et même, d’auteurs, compositeurs québécois et ça continue

Je tiens à remercier les gens dans l`ombre, qui pendant toutes ces années, ont su m`aider à administrer le Bistro. Dominique, ma conjointe et gérante.

Je remercie également, tous les artistes ayant contribué au soutien de la musique « live au » Bistro et dans tous les autres bars de Montréal et plus particulièrement à André Ménard (de l’équipe spectra, qui a cru en nous), Jean Millaire, Marjolène Morin, Gerry Boulet, Justin Boulet, Breen Leboeuf, Eric Lapointe, Matt Laurent, Carl Tremblay, Bob Harrisson, Jim Zeller, Paul Deslaurier, Guy Bélanger, Rejean Lachance,Joe Jammer, Michel Barrette, Linda Lemay, Daniel Boucher, Jimmy James, Francine Raymond, Colin James, Martin Deschamps, Laurence Jalbert, Bob Walsh, Steve Hill, John Mc Gale, Carlos Veiga, Joe et Roger Levis et tous les autres, vous êtes dans mes pensées.

Merci pour tout,

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Francis

Bye Bye Birdie rehearsal photos

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Here are some rehearsal photos from Bye Bye Birdie which I conducted at McIntyre Hall (Mount Vernon, WA) in November 2007.

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This was what I called the “keyboard army”. We had three keyboardists covering piano, strings and percussion bell parts. I opted use synth strings in favor of having a full sax and horn section. The music for Bye Bye Birdie at the time was supposed to sound rock, but it’s really more of a big band Broadway type sound.

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Full cast rehearsal with partial orchestra at a local gymnasium. Note to self, orchestra rehearsals do not work well in gymnasiums…

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First run-throughs with the pit orchestra.

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I think this is one of the orchestra members, Kyle, playing video games…

Montreal with Cirque – Week 3

Email received:

Thanks for the update! The Conrad I have come to know is a fairly private man and I respect this. I guess when you are dealing with a first class outfit, its first class all the way around.  If I can read between the lines, it looks like they foster a culture that allows all participants to move forward, not feeling compelled to stay in the box. Allowing musicians to create yet move as one.

You are a well traveled man from previous experiences. I suspect much of what you are experiencing is not foreign; different form and culture, but relative to traveling with Freddy and alike. The other things I am curious about are simply the place you are staying, is it an apartment or hotel? How is the food? What is grocery shopping like? I suspect you enjoy dinning out, expensive, a luxury you desire but relish this experience and are trying to take it all in at once. I appreciate the dialogue. Take care.

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Hi all!

I’ve received several emails wondering why I haven’t been posting on my blog much. Believe me, there are so many things I’d love to post about – but trying to remain true to keeping all the details of my current project under wraps.

I’ve been in Montreal for several weeks now at the Cirque Du Soleil headquarters rehearsing for their new show in Macao, China.

We’re staying in the heart of Montreal just a few blocks from St. Catherine street – a central party and shopping district. We each have our own apartment and they are very nice with a gym and swimming pool. I’ve been trying to hit the gym and pool on a regular basis (with varying degrees of success).

Within just a few blocks of us are dozens and dozens of restaurants from a wide variety of nationalities. Tonight we had Indian, a couple nights ago Thai – pretty much anything you can image – it’s very international.

In the downtown area merchants are very accomadating about speaking English – especially in the restaurants. The further away you get from downtown, it gets a little more difficult. But so far I’ve only had one person be outright rude that I wasn’t speaking French. Walking down the street and hearing people talk it seems about 80% French and 20% English.

What amuses me is that people seem to automatically know if you’re English – and will say “Excuse me” instead of speaking in French. (Maybe the Levi jeans are a giveaway and the “New York” winter hat). Black seems the popular color for Montreal winter wear. Seems that EVERYONE is wearing black. Maybe because it’s easier to see against the snow, or maybe everyone is just ultimately cool.

My personal opinion is that the people in Montreal are very easy on the eyes. A very good looking bunch of people. And of course they all seem sophisticated to me because they have French accents. So there you go – my superficial take on Montreal.

There are lots of smaller Mom and Pop type markets where we can buy fresh food to make at the apartment. Many of the normal brands you would see in the states with a little more international variety.

The musicians I’ve heard here are top notch. Last week I heard a band at Bistro JoJo with a guitar player that struck me as an up and coming SRV – and a B3 player that gave an incredible show. And this was just a local bar band. Maybe I got lucky – some local musicians turned me on to the club.

The whole Cirque experience has been very enjoyable so far. I really love my fellow band mates – players from the US, Australia, Sweden and Armenia. A great family to play in China with.

Many of the artists are planning on moving their families to China – and it turns out there were a lot of last minute marriages so people could immigrate their partners to China. Being single, I’m just looking forward to working hard for Cirque and I’ll see where my time and creativity lead me down the road.

Several people have asked me, “Won’t it be hard for you to do the same show night after night?”. Not at all. Every show is a brand new opening night and a chance to give your ultimate focus and passion. What’s greater than that? My interest is in the experience of people in the audience, not my own. I want each person in the audience to experience the opening night magic of Cirque. I would guess that most artists share that passion.

A shout out to my friends in Mount Vernon, WA and Southern California. This sure has been a fun ride so far…

Olivier Milchberg

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English/Français/Español

Olivier Milchberg born in Paris, November 7th, 1963. He studied piano and guitar, both classical and jazz for 10 years. At 19, he joined the group Los Incas, founded by his father Jorge Milchberg. He began as guitarist, then continued as flute solo.

The international tours and multiple recordings with Los Incas gave him a much experience as a poly-instrumentalist. He founded Muance Productions in 1988, both as a recording studio and for production of traditional music.

He shares his time between concerts, composition, artistic direction and as producer.
From 1998 on, he developed a passion for oriental music. In 1999 he joins the group Pêcheurs de Perles founded by the Irakien singer Mohamed Alnuma. Olivier Milchberg approaches music with a global conception.

This approach brought him to play numerous instruments traditional or ethnic, like bouzouki (Greek and Irish) and cumbus (Turkish banjo). He’s had a passion since a very young age for reed and bamboo flutes like the “Kena”, “bansouri flute” from India, the ney.

Finally, his ear and mastery of rythm enable him to play the different percussion instruments with ease. His musical research is more than all based on music with soul and roots, in which his inspiration comes for the development of his personal expression.

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Né à Paris le 7 novembre 1963, il y étudie le piano et la guitare, classique et jazz, pendant dix ans. Il rejoint à 19 ans le groupe Los Incas fondé par son père Jorge Milchberg, en tant que guitariste, puis devient flûtiste soliste.
Les tournées internationales et les enregistrements avec Los Incas lui donnent une grande expérience poly-instrumentale.
Il fonde en 1988 Muance Productions, structure de production de musiques traditionnelles et studio d’enregistrement. Il partage son temps entre les concerts, la composition, la direction artistique et la production discographique.
Il collabore avec de nombreux musiciens de traditions musicales diverses, tels que Sergei Starostin (Russie), Christian Zagaria (médiéval-Oriental), accompagne Delphine Aguilera et Hombeline (chants Occitans), intègre les groupe Bandzydeco (Cajun), Kapela (musiques de l’est), Passe Montagne (bals folks), Balkanic Trio (de l’Europe à l’Orient).
Il rencontre et rejoint en 1999 l’ensemble Pêcheurs de Perles fondé par le chanteur iraquien Mohamed Alnuma, collabore avec le chanteur palestinien Moneim Adwan.
Olivier Milchberg aborde la musique avec une conception globale d’arrangeur. Cette approche l’a amené à pratiquer de nombreux instruments, traditionnels ou ethniques, comme le bouzouki (grec et irlandais), le cumbus (banjo turc). Il s’est passionné depuis très jeune pour les flûtes de roseau et de bambou comme les kenas, les flûtes bansouri d’Inde, le ney. Enfin, son oreille et sa maîtrise du rythme lui permettent de jouer des percussions avec aisance. Sa recherche porte avant tout sur les musiques qui ont une âme et des racines, dont il s’inspire pour développer son expression propre.

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Olivier Milchberg nació en París el 7 de Noviembre de 1963,
Estudió piano y guitarra, clásica y jazz, durante diez años.
A los 19 años se unió como guitarrista al grupo Los Incas fundado por su padre Jorge Milchberg, para convertirse luego en flautista.
Las giras internacionales y las grabaciones con Los Incas le han han permitido acumular una gran experiencia poli-instrumental.
En 1998 funda “Muance Productions”, estructura de producción de músicas tradicionales y estudio de grabación.
Reparte su tiempo entre los conciertos, la dirección artística y la producción discográfica.
A partir de 1998 se apasiona particularmente por las músicas orientales.
En 1999 integra el conjunto Pêcheurs de Perles fundado por el cantante iraquí Mohamed Alnuma.
Olivier Milchberg aborda la música con una concepción global.
Este enfoque le permite practicar numerosos instrumentos, tradicionales o étnicos, como el bouzouki ( griego e irlandés) o el cumbus (banjo turco); desde muy jóven siente pasión por las flautas de caña y de bambú como las kenas, las flautas bansouri de India o el ney. Su oído y su conocimiento del ritmo le permiten tocar percusiones con facilidad.
Su investigación se ocupa sobre todo de las músicas que poseen un alma y unas raíces, en las cuales se inspira para desarrollar su propia expresión.