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Ep. #278: Jane Bunnett

Jane Bunnett is a world-renowned jazz musician and composer who lives in Toronto, Ontario. A Juno award winner and Grammy award nominee, Bunnett is a highly accomplished saxophonist and piano player well known for her incorporation of Cuban music and collaborations with Cuban musicians; her 1991 album, Spirits of Havana, is considered one of the greatest jazz records ever. Her group, Jane Bunnett and Maqueque, release their new album, Oddara, is out October 14 via Linus Entertainment and will be touring throughout Canada and the U.S. between September and November. Bunnett will be appearing at the Guelph Jazz Festival on September 16, as part of Song Everlasting, an all-star tribute to the late pianist, Don Pullen. Jane and I met on the terrace of her Toronto home recently to discuss raccoons, spices, the evolution of a rooming house in Parkdale, where goes the neighbourhood, chains, the Gardiner Expressway, the stupid annual Toronto Air Show, Yours to Discover, attending five different Toronto high schools after attending a free school, painting and clarinet, street tough, music in the family and a new house with a piano, sister Sarah, the youngest kids don’t seem to matter as much, big brother’s music collection, piano lessons and bailing, too much playing and jazz, off she went to San Francisco, Charles Mingus, The Colonial Tavern, Don Pullen, improvisation and the flute, Toronto’s New School of Music and Howard Spring, “Nostalgia in Times Square,” snobby record store employees, Toronto’s underappreciated history as a jazz mecca, Claude Ranger, Mark Miller, ahistorical, a range of instruments, the social aspect of music, Mexico and Cuba, discovering greatness in Santiago de Cuba and Havana in 1982, the great percussionist Guillermo Barreto, her partner and collaborator Larry Cramer, the stories behind her all-female Cuban group Maqueque and their new album Oddara, David Virelles, the spirit and fiery energy of a little girl, NPR’s Tiny Desk Concerts, remembering Don Pullen, In Dew Time, Ajay Heble, the esteemed ensemble playing this tribute, Howard Johnson and Saturday Night Live, the Maqueque song, “Dream,” and that was that.

Related links: janebunnett.com guelphjazzfestival.com vishkhanna.com

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News Podcast

Ep. #277: Rob Benvie of Bankruptcy

Rob Benvie is a novelist, writer, musician, songwriter, and singer currently based in Toronto, Ontario. Raised in Halifax, Nova Scotia, Benvie has published two acclaimed novels, 2004’s Safety of War, and 2011’s Maintenance, both of which are available via Coach House Books. He is also well known for playing in bands like Thrush Hermit, The Dears, Camouflage Nights, and Tigre Benvie. His latest outfit is called Bankruptcy, which just released a new record called For the Future” on 1.7 Publications. Bankruptcy play Adelaide Hall in Toronto on September 8, 2016 and here, Rob and I discuss Toronto’s blazing hot summer, Montreal, living for the city, caring about Toronto, a penchant for obnoxiousness, not pessimistic, funny or not, irony, prose writing and songwriting, wordiness and Bob Dylan, scrapping it all, Murray Lightburn, states of completion, barf, a meta section, where Bankruptcy came from, Wayne MacPherson, starting the band, democracy, anxiety, addiction, malaise; fortitude, togetherness, optimism, propulsive energy and fun, The Clash and “the only band that matters,” turning to synthesized sounds after Thrush Hermit, Sandinista!, late 90s home recording technology and the birth of Tigre Benvie, how Thrush Hermit worked together and why they broke up, Clayton Park, Rob’s singing, Joel Plaskett, the Steve Miller Band set at Edgefest ’95, Nazareth on MuchMusic, sincerity and detachment, restlessness, maturity, “Swim for the Light” and “Sunday Bloody Sunday,” U2, when Rob initiated the Thrush Hermit reunion tour in 2009, being an angry young man, the Hermit’s lasting legacy and the band’s future, a Clayton Park vinyl release, seeing the Hermit at the Volcano in Kitchener, Bankruptcy plans and a new novel, getting the word out, stuff glut, brown blushing, mature, sincere, and sexual, the song “Barfed-up Candelabra,” and then we headed for the future.

Related links: robbenvie.com bankruptcymusic.com vishkhanna.com

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Ep. #276: Katie Monks of Dilly Dally

Katie Monks and Liz Ball are members of an explosive Toronto-based rock band called Dilly Dally. High school friends, Monks and Ball grew up loving Nirvana, Pixies, Sonic Youth, and Yeah Yeah Yeahs among others, eventually honing their own chops as guitarists and songwriters and forming Dilly Dally. In the fall of 2015, the band released its critically-acclaimed album Sore, via the Toronto label Buzz Records, and have been touring steadily ever since with forthcoming dates at Arboretum Festival in Ottawa on August 17 and many European and American shows, beginning at the end of August and leading into September and October . Here, Katie and I discuss the fact that Liz is probably sleeping, setting the record straight about info in the ‘official’ Dilly Dally bio, things from the past get soupy, why her and friends gravitated towards sad, junkie, self-destructive artist boys like Kurt Cobain, Christopher Owens, and Pete Doherty, kill yr idols, maternal instincts, getting it together, bowing down to nobody and respecting life, compassion, owing your fans, Toronto hype, the mythology around tortured artists and success, the music industry, Kurt Cobain was likely smart, a switch, being a woman and helping other women, growing up in Newmarket, living the dream, seeking chaos, the Toronto real estate-related arts exodus, 2013 Toronto, construction in the city, Drake, Rob Ford, Fucked Up, the Blue Jays, and the Raptors and Toronto getting more worldwide attention, the Dilly Dally song “Purple Rage” and the Prince song “Purple Rain,” loving problematic Prince and Purple Rain, her brother Dave who plays in Tokyo Police Club and what their musical upbringing was like, a Beatles chord book, older sibling shop talk, safe European flights, a Dublin family reunion, touring the U.S. during the actual presidential election this fall, the unmediated truth, the future of Dilly Dally and the song “The Touch,” a postcard of a dead cat, and that was that.

Related links: dillydallyband.com buzzrecords.ca vishkhanna.com

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