Music

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Newfoundland duo Fortunate Ones’ second album Hold Fast is a study in resilience and partnership.

And Catherine Allan and Andrew O’Brien know a lot about what it takes to make a good partnership. Their debut album, The Bliss was nominated for a JUNO Award, garnered two #1 singles on CBC Radio 2’s Top 20, won the 2016 “Rising Star” ECMA, the 2015 “Vocal Group” Canadian Folk Music Award, and four 2015 Music Newfoundland and Labrador Awards.

Newfoundland has a storied history of stunning songwriters, poets and players. Over the course of the last decade The Once have writ and knit themselves into that story.

Within the nine songs on their new album Time Enough, The Once offer some of the most vulnerable and honest material of their career. The up-tempo album opener, “I Can’t Live Without You,” reflects on women battling with self-image issues and offers wisened words to be the positive change in their own lives. The gritty guitar driven “Before The Fall” succumbs to the notion that we must accept our past and use those memories to grow. Riff rocker “Any Other Way” reflects the fact that true love accepts us at our worst but insists we do the work to be our best selves to keep it together.

On this, their fourth studio album, the band stays true to the root strength of their harmony driven sound, while extending the borders into fresh yet familiar territory. They craft a sonically understated, but emotionally fulsome sound that accomplishes what they've always done so well: stun listeners with what Amelia Curran calls "perfect vocal harmonies, thick enough to stand on."

“We approached Time Enough with an open heart and on open mind. We composed apart and came together to Once-up the new material,” says lead singer Geraldine Hollett of the band’s writing process. “We are pretty tough customers so it was scary bringing so much guts to the table, but over the years we have earned and accepted one another’s trust. This album is special because of it.”

The story of The Once is one of growth, propelled by the rare chemistry that comes from a decade of writing and touring together. Their songs have been placed in international film and television, they have YouTube videos with millions of hits, and there's a trail of trophy nominations and wins from the East Coast Music Awards, the Canadian Folk Awards, and the JUNO Awards in their wake.

Since first hitting the road in 2009, The Once has earned one of the most loyal followings in the country. Ask their fans why they love the band and watch their eyes widen as the words flow. It becomes clear that The Once ain't regular folk. They've built something unique within their genre, and something rare within the fan base that keeps them growing and going strong and they do not take that fan base for granted. “We give all we got to them because we know we can’t do what we want to do if they’re not with us,” says Hollett of those who have shown endless support for the group. It was this resonance with fans that launched their career and it is this deep relationship that continues to inspire the band to travel new paths, explore new territory, and create new music.

Geraldine Hollett's voice is a large part of the band's ethereal sound, and there is nowhere it would sit better than in between the rhythmic and supportive voices of Phil Churchill and Andrew Dale, and the lush soundscapes they build. The trio's instrumentation and vocals meld together like gold, building something stronger together than any one songwriter could muster alone.  Their harmonies grab you by the heart, and their music melts what's left of it.

Building on the wave of creative energy that defined their last album, Time Enough is a striking and subtle sea change for the band. Dive in, get lost, click repeat.

This hit after hit show is a true Johnny Cash experience that celebrates the music and life of 'The Man In Black' and his fun-loving wife, June Carter. This concert covers the entire career of Johnny Cash from the 1950s at Sun Records to 2003 with the American Recordings label and includes Johnny's biggest hits Ring of Fire, Boy Named Sue, I Walk The Line, Folsom Prison Blues, Hurt and the famous duet Jackson sung with June Carter amongst many other classic songs. The concert performance features Ward Cornforth as a 1960's era Johnny Cash and includes duets performed with Johnny's life-long partner June Carter. Ward Cornforth and his band accurately recreate Cash's biggest hits with the distinctive sound of Cash's signature backing band, The Tennessee Three. The show is a fun, toe-tapping trip down memory lane. Ward incorporates historical accounts and personal anecdotes about the Country Legend and American Poet, who left his mark upon many millions of fans, in this not-to-be-missed musical event.

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The Vienna Boys Choir, renowned as one of the finest vocal ensembles in the world for over 5 centuries, is a frequent visitor to North America, performing throughout the country in everything from houses of worship to great concert venues like New York’s Carnegie Hall and Chicago’s Symphony Hall. The enormously popular chorus is actually comprised of four separate ensembles of 23-26 boys each, totaling 100 choristers at the Vienna Boys Choir's school at any given time-all of them between the ages of 10 and 14. The four choirs are of equal standing, and the Vienna Boys Choir's tours, concerts in Vienna and audio and video recording projects are shared among them. Each choir has a choirmaster and two tutors who travel with the boys. Approximately eleven weeks of the school year are devoted to touring, and each choir member sings about 80 concerts a year. Many of the boys have siblings, fathers, uncles and even grandfathers who have also been members of the choir.

The Vienna Boys Choir can trace its history as far back as the 13th century but it was formally established at Vienna's Imperial Chapel in 1498 by Holy Roman Emperor Maximilian I. The many incarnations of the group have been performing continuously ever since. The modern Vienna Boys Choir represents quite a departure from the composition of the original medieval choir of six boys. Today's Vienna Boys Choir is comprised of talented young singers from all over the world who are admitted by audition.The choir visiting the U.S. has included boys hailing from Austria, Cambodia, China, France, Germany, Iceland, Italy,Japan, Korea, New Zealand, the Philippines and the U.S.

Acclaimed guitarist, singer, song writer, band leader and producer, Jack de Keyzer rarely sits still. For 46 years or roughly a couple million miles , de Keyzer has been hitting the road , air and studio to bring his brand of guitar driven blues around the globe.  With 12 records, 1 DVD , 2 Junos and 7 Maple Blues Awards, de Keyzer delivers the goods wherever, whenever he performs. Playing  over 100 shows a year, de Keyzer’s music is steeped in Chicago blues, London England’s (de Keyzer’s birth place) blues rock, Detroit’s Motown, Muscle Shoals deep soul,   Memphis’  rock and roll, and Philadelphia’s funky soul jazz .  De Keyzer knows first hand as he has played with many first generation pioneers of these sounds and styles, Bo Diddley, Otis Rush, Etta James, King Biscuit Boy and Ronnie Hawkins to name a few.  His latest recording  TRIBUTE (2020)  features twelve rousing new original blues, rock and soul songs and pays tribute to the great blues and rock guitar masters, singers and song writers de Keyzer has been influenced and inspired by through the years.  A tour de force by an artist at his peak powers. See and hear Jack de Keyzer  with his incredible band  on the TRIBUTE tour.

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Supreme sonic stylist David Myles and his all-star band of players would like to take you on a journey. With That Tall Distance, Myles shakes off the chains of lyricism in favour of expansive, world-building instrumental arrangements, exploring a universe of shimmering soul, magic jazz, streetwise funk, and earthy blues. Tossed into the fray together, all of the individual timbres, vibes, and moods melt into a cohesive and stunning sonic vision. Over his career, Myles has proven himself a deft hand and keen student across genres, crafting immaculate pop melodies and timeless rock ‘n’ roll hip-swivelers. That Tall Distance throws the books out the window to pursue experimentation, creative instinct, and intense collaboration, bringing listeners the New Brunswick tunesmith’s most inventive record yet.

Like any creative endeavour, making music is a practice of dreaming things into being, and the assembling of That Tall Distance was a process of collective dreaming across space and time. While Myles himself got things started with each song, laying down the main melody and form with guitar and trumpet, the music was then passed on to each co-conspirator in the same sequence. Drummer Joshua Van Tassel would take Myles’ initial offering, seek to understand the essence of it, and then create the grooves that would give it a heartbeat. Like most drummers, he shines all over the record, but halfway through the funk odyssey of “Hawkshaw,” a deluge of percussion sets in to help the tune really blossom. Van Tassel would send things over to bassist Dean Drouillard, whose innovative bottom-end moves set the mood for the raucous, driving “Plank” and drive the whole album along.

Next up were the soloists. On “New 80,” trombone player extraordinaire Andrew Jackson takes listeners far, far out of this world and into one that floats along on the notes of his spacey plunger solo. Keyboardist Leith Fleming-Smith’s interstellar synths add a little funky supernaturality to the first half of the frenetic “Silver World” before he switches gears to set the song on fire with a soul-burning, fingers-flying climax. And strings wiz Asa Brosius deepens everything he touches with sophisticated textures, taking us to the beach on a surfy ride during opener “Bird Song,” and evoking summer sweetness with his dobro on the dusty “Motion.” While each part of That Tall Distance was recorded in isolation, the album flows with the spirit of connection as each element plays naturally off of and in response to the last, a testament to the musical bonds the players share.

Over the year that saw That Tall Distance come together—a year defined by isolation—Myles also continued to seek connection via his “not-so-late night talk show” Myles From Home on YouTube and in podcast form, featuring guests like Jeremy Dutcher, Reeny Smith, and Matt Mays. The show, which originated on CKUA, is just another feather in the multifaceted cap of Myles’ career, which includes numerous awards and accolades, a robust artist profile stateside, a 2018 children’s book called Santa Never Brings Me a Banjo, and the biggest-selling rap single in the history of Canadian music, “Inner Ninja,” a cross-genre musical collaboration with rapper Classified.

"Thoughtful, sparkling, poetically-inspired chamber jazz!"

“…with the release of Earth Voices […] Tosoff has taken the concept that she so brilliantly mastered with Words and built upon it. More instruments, more beautiful poems, more vocalists that equal more invigorating compositions that inspire and lift the already powerful words off the page into the present moment.”

Her performing career spans over 24 years in venues ranging from Toronto’s storied Montreal Bistro & Top of the Senator, to Tokyo’s Cotton Club and more recently concerts with symphony orchestras at Toronto’s Massey Hall and Montreal’s Maison Symphonique. She has performed at the Montreal Jazz Festival on seven occasions including a 2015 performance on the Main Stage with 50,000 people attending.

Ms. Barlow has lead bands featuring the finest musician’s in Canada. Her work as a band leader and producer has been recognized with a Juno Award nomination for “Producer of Year” for her recording “Clear Day” (2015) — notable for being only the 2nd Jazz recording nominated in this category. Ms. Barlow is also one of a very women to be honoured as “Producer of the Year”.

Ms. Barlow’s all francophone recording “Seule ce soir” won a Juno and Felix Award in 2013 representing an unprecedented achievement in Canadian bilingualism.

After releasing her second holiday album Lumières d'hiver in 2017, Emilie-Claire turned her attention to her duo project with Steve Webster, Bocana. Bocana has released 8 singles over the last couple of years in the electro-pop, lounge, world muic genres, amassing a healthy following on streaming platforms. ECB has also released a collection of James Taylor covers as part of her JT Project.

Up next is her 13th full album, due for release in early 2023. In the meantime, You can listen to ECB's newest singles - a stripped down take on the classic "My Favorite Things" and a guest vocal on Lou Pomanti's latest, "Stoned Soul Picnic".

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The International Day Against Homophobia, Transphobia and Biphobia was created in 2004 to draw the attention to the violence and discrimination experienced by lesbian, gay, bisexual, transgender, intersex people and all other people with diverse sexual orientations, gender identities or expressions, and sex characteristics.

The date of May 17th was specifically chosen to commemorate the World Health Organization’s decision in 1990 to declassify homosexuality as a mental disorder.
The Day represents a major global annual landmark to draw the attention of decision makers, the media, the public, corporations, opinion leaders, local authorities, etc. to the alarming situation faced by people with diverse sexual orientations, gender identities or expressions, and sex characteristics.

May 17 is now celebrated in more than 130 countries, including 37 where same-sex acts are illegal. Thousands of initiatives, big and small, are reported throughout the planet.

The International Day against Homophobia, Transphobia and Biphobia has received official recognition from several States, international institutions such as the European Parliament, and by countless local authorities. Most United Nations agencies also mark the Day with specific events.

Even if every year a “global focus issue” is promoted, the International Day Against Homophobia, Transphobia and Biphobia is not one centralised campaign; rather it is a moment that everyone can take advantage of to take action, on whatever issue and in whatever format that they wish.

Many different entities participate in the global mobilisation around May 17 and as a consequence it receives many different names. Some organisations add Lesbophobia or Intersexphobia as distinct focuses. Acronyms also vary, from the initial IDAHO to IDAHOT or IDAHOBIT. The Day is not one central trademarked brand and everyone is free to communicate as they wish.

Nevertheless, we have seen lately that several groups translate the “I” with “intersexism”. We have consulted with Intersex organisations who consider this term to be vague and misleading. We therefore ask everyone to please refrain from using the term “intersexism” and prefer the term “intersexphobia”. Please also note that the name of the Day currently does not explicitly include Intersexphobia as there is no global consensus among the Intersex communities that this should be included in the remit of May 17.

Initially managed by the IDAHO Committee, the initiative is now collectively managed in collaboration between regional and thematic networks working to advance the rights of people with diverse sexual orientations, gender identities or expressions, and sex characteristics. This collaboration brings together organizations and initiatives at global, regional, national and local levels.

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