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The home of music journalist Nicholas Jennings, author of Lightfoot, the definitive new Gordon Lightfoot biography from Penguin Random House.

Liner Notes: Roberto Occhipinti - Yemaya

robertoocchipinti yemayaRare is the bassist who steps forward to lead his own ensemble. Rarer still is the bandleader who successfully bridges the worlds of jazz and classical music. Roberto Occhipinti clearly belongs to that rare breed. On his first album, 2001's Trinacria, Occhipinti explored the range of Latin jazz through works by Thelonious Monk, Cuban piano virtuoso Hilario Durán and his own compositions. His follow up album, 2003's The Cusp, expanded on the concept, adding violin, flutes, reeds and horns while tackling composers as diverse as Wayne Shorter, Jimi Hendrix and Giacomo Puccini. Now, with Yemaya, Occhipinti has given full flight to his musical vision, employing horns, a string quartet and a full string symphony orchestra on classical arrangements of Cuban, Brazilian and original jazz pieces. It’s an inspired synthesis.

The album opens with "Maracatres" by Brazilian pianist Jovino Santos-Neto, in which saxophonist Phil Dwyer's fluttering solo floats over a swelling ocean of horns and strings. The breezy title track has bata drummer Pedro Martinez singing a warm homage to the goddess of sea and nature in the Afro-Cuban religion while Moscow's Globalis Symphony lend rich orchestral accompaniment. Equally striking is the sumptuous string arrangement of

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Liner Notes: The Paupers – Dig Deep 1966-1968

Liner Notes: The Paupers – Dig Deep 1966-1968
Canadians have a peculiar ability to downplay—or forget altogether—their artists’ achievements. “Cultural amnesia,” Margaret Atwood once called it. Canada’s first lady of letters could well have been referring to how the fabulous Paupers were (until now) relegated to the delete bins of Canadian music history. Atwood was giving her first poetry readings at Toronto’s Bohemian Embassy when The Paupers were establishing themselves as a legendary live act up the street, in Yorkville clubs like the El Patio and Boris’ Red Gas Room. The group went on to score radio hits such as “Simple Deed” and “If I Call You By Some Name.” But most significant—and forgotten—is the fact that in the months leading ...
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Liner Notes: Chalk Circle - The Best of Chalk Circle

chalkcircle bestofA thinking band from the 1980s, Chalk Circle was that rare group of musicians who combined socially conscious lyrics and chiming guitars in an age dominated by big hair and synthesizers. Listening to the band’s music again, what stands out is how fresh and forceful it still sounds. The songs have aged remarkably well.

Part of the reason lies in Chalk Circle’s sources of inspiration: literature and the environment. The group took its name from a play by Bertolt Brecht, about fighting for your convictions in the face of pressure. And the band members, who grew up in Newcastle, Ontario, near the controversial Darlington Station, never shied away from writing about the dangers of nuclear power. As singer-guitarist Chris Tait, who wrote most of the groups lyrics, put it: “We feel most comfortable writing about subjects that are around us.”

Originally formed as a trio in 1983 by Tait, bassist Brad Hopkins and drummer Derrick Murphy, Chalk Circle rounded out its sound with the addition of keyboardist Tad Winklarz, a classically trained pianist who fled his native Poland shortly before the imposition of martial law. The song “Buildings” arose from one of the first

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