John’s Blues Picks is the monthly album review column originally launched by the late Toronto-based blues historian and broadcaster, John Valenteyn. Submission can be sent to the TBS office for consideration and will be circulated to a pool of journalists and others for review in the monthly Maple Blues newsletter and placed at the Spotify playlist.
Like in all forms of music, there will always be the debate between modern and old school, just as there will always be those who strive to connect the two, and in doing so create new and compelling music that appeals to the educated ear. That is Rocket Ride in a nutshell.
When the COVID-19 pandemic hit and the world locked down, our working musicians lost their main source of income when the venues shut down and all the tours were cancelled. Some tried ‘busking’ on facebook, some sequestered themselves home to write in anticipation of new projects to come, while others just shut down completely to wait out the storm.
Shakey Trill strips down the blues to its glorious essence. This eponymous debut album is the product of a duo from Saugeen Shores, Ontario — guitarist Mike “Shakey” MacDonald and harmonica player Tyler Pantlin, who was influenced by the trill of Muddy Waters’ harp blowers. As Pantlin says of this acoustic release, “There are no bells and whistles; [it’s] completely naked and unfiltered.” Their aim was to create an album that stayed true to the core of the genre, with no excess or over-production.
AV (Ann Vriend) is not a conventional blues artist. Over the course of a career discography now totalling seven albums, the Edmonton-based singer/songwriter has incorporated soul, folk and blues stylings in her work. It has been pleasing to see her accepted into the Canadian blues community though, as evidenced by her two Cobalt Music Prize wins at the Maple Blues Awards, acknowledging her songwriting talent.
Terry Whalen and Friends There Ain’t Nothing in this World
Probably the only good thing to come out of the pandemic is the growing list of albums where artists team up remotely. It is an indication of just how strong the Canadian blues village is.
Eddie 9v Little Black Flie
The opening of the liner notes for this album reads; “The best blues records feel like a party going off in your speakers.” This is a completely accurate summation of this album
Colin James Open Road True North Records
It’s reassuring, if not beyond pride-swelling, to watch a true Canadian talent getting better and better at their craft with each successive release. And, as popular as his Little Big Band was to so many, this writer never felt that James has ever truly maximized his definitive guitar talents, as readily identified by once-mentor, Stevie Ray Vaughan. Yet, here’s another strong release that moves him ever closer to doing so.
Denis Parker Country Blue
Blues fans in St. John’s, Newfoundland are well aware of Denis Parker. He has been a cornerstone of the local blues scene ever since he arrived in the city of legends back in the early 70’s, bringing blues to the rock. With a pedigree that includes his work with Panama Limited, and their recording done at the legendary Abbey Road Studios,
David Vest Live In Calgary Cordova Bay Records
Picking up where Gary Kendall’s review of Vest’s Live at Hermann’s left off, Live In Calgary continues to celebrate the venerable blues pianist’s joy of playing live. Armed with his long-time band (Tom Bowler, guitar; Ryan Tandy, bass; Damian Graham, drums) , with longtime Portland, Oregon blues guitarist, Peter Dammann, sitting in, Vest & Co. lay down their love for piano-based blues on fans at the 2019 Calgary International Blues Festival.
The latest release from ECMA award winning singer / songwriter Charlie A’Court sees the Atlantic Canadian blues powerhouse teaming up with country rocker outlaws “Witchitaw” for a brand-new Live album, but it is more than just a one-off live album. They have joined forces to create an exciting new touring show that will cover all three Atlantic provinces in the wake of the album’s release.
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The Toronto Blues Society acknowledges the annual support of the Ontario Arts Council, the City of Toronto through the Toronto Arts Council and the Department of Canadian Heritage, and project support from FACTOR< and the Government of Canada through the Department of Canadian Heritage (Canada Music Fund) and of Canada’s Private Broadcasters, The Canada Council for the Arts, the SOCAN Foundation, SOCAN, the Ontario Media Development Corporation, and the Ontario Ministry of Tourism, Culture and Sport.
