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Denise Jones wore many hats: actress, dancer, artist manager, concert presenter, festival producer, event planner and mother of two. A pillar, along with her husband, Allan, of the Jamaican-Canadian community, she worked tirelessly throughout her career to promote Caribbean culture – first through plays and pantomimes and then through reggae concerts and arts festivals – to increasingly larger audiences. The multifaceted businesswoman was also a strong activist, championing diversity long before “Black Lives Matter” became a popular movement. In 1989, in the wake of the police shooting death of Mississauga Black teenager Wade Lawson, Ms. Jones spoke to a task force on race relations and crit...

She was Canada’s consummate country music queen: petite, buxom and with towering hair to match a voice that could scale heartbreaking heights. Beginning in the late 1950s and early ’60s, Lucille Starr was also a trailblazer, singing in both English and her native French while becoming the first Canadian woman to sell one million records and the first to perform at Nashville’s famous Grand Ole Opry. There were many other firsts for the feisty francophone artist, an accomplished yodeller who yodeled Cousin Pearl’s character on TV’s The Beverly Hillbillies. Signed to A&M Records in Los Angeles with Bob Regan, her partner in the Canadian Sweethearts duo, Ms. Starr was simultaneousl...

She was one of Yorkville’s forgotten female folkies, a contemporary of Joni Mitchell and a friend of Neil Young who left Toronto in 1968 for the hills above Los Angeles. For a while, Elyse Weinberg was a Lady of the Canyon herself, with an acclaimed debut album and a rose-tinted future. Newsweek magazine even compared her to Ms. Mitchell, Melanie and Laura Nyro. But disillusionment with the music business eventually caused the husky-voiced singer to drop out, move to the rural northwest and change her name. In 2000 Ms. Weinberg, then living as Cori Bishop in Ashland, Ore., received an out-of-the-blue phone call: a young musician had found her mystical self-titled debut in a thrift ...

Wray Downes was a gifted pianist, an Oscar Peterson protégé blessed with perfect pitch and impeccable timing and a be-bop man who possessed one of the most expressive right hands in all of jazz. Mr. Peterson – and many others in the field – recognized Mr. Downes as a formidable talent. In 1980, Mr. Peterson told author and former Globe and Mail jazz critic Mark Miller of his deep respect, in competitive terms, for his shy, unassuming former student. “Wray’s the kind of guy – you look up and all of a sudden, you’re bleeding. If you go up onstage in a group, and he’s in the other group, quietly he’ll take his lumps out on you.” When Mr. Downes died on March 19, at 89 from lung cancer...

Neil Peart was not like most drummers. Seen from above, his sprawling kit resembled a painter’s pallet, with myriad drumheads and cymbals providing the bold primary and pastel shades of his art. He played his instrument with virtuosity and athleticism, pushing himself to the outermost limits of his creativity and ability with distinctive fills and complex solos that helped to make Rush such a formidable rock band. While most drummers are content to sit, dutifully holding down the backbeat, Mr. Peart was a restless soul with inexhaustible ambition and an insatiable curiosity that took him unexpected places. He traveled widely, rode motorcycles, collected vintage cars and Canadian art and read...

In the late 1950s and early ’60s, there were few bigger stars than Jack Scott. With his signature mix of snarling rockers and soothing ballads, the Canadian-born, U.S.-based musician scored 19 hit singles in just 41 months, a feat achieved by only a handful of other pop acts, including the Beatles. And seven of those hits were on his self-titled debut album. Blessed with a superb baritone and a wide vocal range, Mr. Scott was one of early rock’s most gifted male singers, surpassed only by Roy Orbison and Elvis Presley. And, unlike Mr. Presley, he wrote his own songs. Mr. Scott’s death on Dec. 12, of congestive heart failure, led to an outpouring of tributes from musicians and fans all over t...

During the early 1970s, no musician wore his Canadian nationality more proudly on his sleeve than Blake Fordham, better known as Kelly Jay, the charismatic man mountain who fronted boogie-rockers Crowbar. At a time when many still shied away from overt flag-waving, Mr. Fordham, the singer and pianist behind the anthemic hit song “Oh What a Feeling,” unabashedly embraced a good-time nationalism in both his lyrics and clothing. “Kelly Jay and Crowbar made young Canadians feel cool about their country, about being Canadian and everything that stood for,” recalls Frank Davies, Crowbar’s original producer and publisher, who cited Mr. Fordham’s “Captain Canada” nickname, beaverskin hats, deerskin ...

Mose Scarlett specialized in songs from bygone eras – jazz, blues, ragtime and swing – and always dressed the part, neatly turned out in a three-piece suit and fedora or, more informally, a waistcoat and workingman’s flat cap. Within Canadian music, he was an anachronism, a performer cheerfully out of step with the times. But that was also a big part of his charm. Blessed with a deep, resonant singing voice and a self-taught, fingerpicking guitar style often described as stride, Mr. Scarlett was similarly old-fashioned in his personal demeanour. Bruce Cockburn, who met him in 1969 when he and his then future wife, Kitty, stayed at Mr. Scarlett’s apartment in Toronto’s east end, recalls being...

In the industry where he spent his entire working life, Deane Cameron was fondly known as Captain Canada, a passionate man with an unwavering commitment to musicians, a hilarious way with one-liners and a heart, many say, that was as big as the country itself. Too modest to embrace any superhero title, Mr. Cameron worked tirelessly to boost new and established Canadian pop and rock artists during his nearly 25 years as head of Capitol Records-EMI of Canada (renamed EMI Music Canada), where he famously started in the warehouse and worked his way up to president. Few have played a more vital role in this country’s musical culture. Among his many accomplishments, he coaxed Stompin’ Tom Connors ...

Joe Hall possessed one of the most fertile imaginations in Canadian songwriting. His concerts in the 1970s and 80s are the stuff of legend: frenetic displays of eclectic music and absurdist theatre in which he seemed to have narrowly escaped a straitjacket. Although his star dimmed in subsequent decades, the prolific artist never stopped writing songs, recording and performing. When news spread recently that he had died, fans across Canada mourned the loss of a gifted, lovable oddball whose commercial success never matched his unbridled talent. During Mr. Hall’s heyday touring widely with his band the Continental Drift, he often drew comparisons to Frank Zappa for wild performances of songs ...