Deck The Halls

Friday night was the 3rd installment of The Big Sound wherein some 20-odd local musicians join forces to play some Motown. The Great Hall on Queen was once again packed to the rafters with dancers who at the end of the night were dripping with sweat.

The singers were better prepared and less reliant on lyrics sheet than last time, except for a female singer who substituted for Tanika Charles who was away because of a family emergency. However, there were a few songs where the band missed their cues and stopped raggedly. There were a couple of regular singers who have been lackadaisical at every performance, though they have great pipes, and need to step up their game.

The two stand-outs were Todd (Rod) Skimmins who threw down the gauntlet with a thrilling "Shotgun" and my favourite singer Maylee Todd. It looks like they are starting to recognize her stage presence and gave her 4 songs to sing including the opening number and the 2 encores. But truthfully, she wasn't quite up to her usual standard when she started the show with a tepid rendition of the less familiar "Do I Love You (Indeed I Do)". But she and Todd got the groove on with "You're All I Need To Get By". She also closed off the night with two great songs: "I Want You Back" and "Ain't No Mountain High Enough".

The night was filled with Motown favourites such as "Dancing In The Streets", "You Can't Hurry Love", "Stop In The Name of Love", "Tears of a Clown", and "Mickey's Monkey". For the next show, I might have to abandon the front row. As much fun as it is, I have to wonder if I'm missing out on some subtlety. The horns, singers, and guitars came through fine. But I really couldn't hear the strings, percussions, or glockenspiel. But they wouldn't be on stage if they couldn't be heard right?

Galinhasana

After two back-to-back yoga classes at the West End YMCA on my day off, I crossed the street to local diner Hadley's for brunch. This used to be a long-time Portuguese watering hole but as gentrification comes to the College/Dovercourt area, a hipper spot took over. They have more brunch selections on the week-end but their signature dish The Remedy ($14) as well as regular experiments with French Toast ($14) are always available.

Having just detoxified myself, I didn't want such a heavy brunch. So I ordered The Club ($10) and some salad. The sandwich comprised of toasted bread (still mostly soft), roasted chicken breast, house-made smoky bacon, and cheddar. The salad was similar to Libretto's with the addition of roasted nuts, but whereas the latter benefited from rich cheese and crisp apple slices, the raw onions overpowered the former.

The club was a goodly portion but it was a bit bland. Chicken breast is a lean meat and the sandwich could have used some more seasoning. A saltier bacon or a stronger cheese would have added that needed punch.

That's Dandy, Andy

Andy Kim

Andy Kim is a Canadian whose long career included the 60s hits "Sugar, Sugar" and "Rock Me Gently". For the past 6 years, he has enlisted other Canadian musicians to sing in a Christmas charity show. This year, it promised to be the largest yet. The recipient of the 7th annual Andy Kim's XMas show is Juliette's House, a women's shelter.

I won two tickets to the show by retweeting a message from a local music promoter. But I found out that I was actually one of the 700 who made it on the guest list. Only about 400 paid beforehand for a total of 1100 who crammed into the Phoenix. Of course, everyone was encouraged to contribute something for the charitable cause. I wasn't willing to stand in the long line for long, but luckily it moved fairly rapidly. I got inside as Andy Kim was a few songs in.

Emma Lee

This was the most professional show I've seen at the Phoenix lately. There were lots of lights and effects, multiple camera men, and speedy roadies who set up and tear down equipment with blazing speed (a necessity as each singer sang no more than 2 or 3 songs). I was resigned to staying at the back but noticing gaps here and there, especially along the bar areas, I was able to sidle forward until I was right at the front.

Over the next 2-3 hours a disparate number of Canadian acts came on, most accompanied by the "house band". Most sang a Christmas-related cover, though not necessarily a "classic" such as Silent Night. A number of TV/Radio personalities including Dave Gilmour, Jian Gomeshi, and Steve Anthony kept up the banter throughout the evening.

After Andy Kim, Emma Lee sang 2 acoustic numbers, followed by Dru who got the audience dancing to his RnB. Buck 65 did a terrible "Baby, It's Cold Outside" with Meaghan Smith (because he can't sing). He was on firmer ground with his own rap-sing "Wicked and Weird". Up-and-comer Lights sang 2 songs including "In The Air Tonight".  The 80s vibe will continue all night. Members of Finger 11 did country tunes. Their "Honky-Tonk Santa" is almost as catchy as "Little Red Cup". 80s hair band Honeymoon Suite followed, which got cheers from the middle-aged segment.

Sarah Harmer

New band The Arkells came up next and showed why you got to be hungry to play rock music. They were the best act of the night, taking the stage with a blistering take on their song "Whistleblower". One song and I'm already a fan. The youngsters showed the old-timer how it's done when they and Lights covered "You Make My Dreams Come True". In fact, they had the most time on stage, also doing "Do You Hear What I Hear" with Sarah Harmer, and "My Girl" with Amanda Zelina (The Coppertone) and Brendan Canning (Broken Social Scene).

Sean Cullen channeled a slightly deranged Bing Crosby. Sam Roberts came on with Kevin Drew (Broken Social Scene) for "Little Drummer Boy" and "Don't Walk Away Eileen". Ron Sexsmith covered the melancholic "Driving Home For Christmas" but finished with his more uplifting "Love Shines". Finally, Andy Kim closed out the evening with "Sugar, Sugar" and brought everyone on stage for "Rock Me Gently". It was a fun night of music that raised at least $50,000, since it was announced halfway through the show that a local bigwig has donated $50K for the cause.

Art of Craft

City of Craft

The local arts and craft showcase at The Great Hall on Saturday would fit into one row at the much larger One of A Kind show that took place a few weeks ago. Nevertheless, the people jostling cheek to jowl were happy to support small artisans. I ended up making a few Christmas purchases. Leaving aside whether something should be considered art or crafts, let us consider that there is an art to craft itself. That is, the ability to complete a piece of work instead of endless tinkering.

This was on my mind when later on that evening, I went down to the El Mocambo to see 3 bands: Paper Lions (PEI), The Elwins (Toronto), and The Love Machine (Ottawa). I actually did not end up seeing head-liner Paper Lions because their set was pushed back way past their 12 am start, probably because the relatively sparse crowd made the owner push out the set times to encourage more drinking (and more late comers). In any case, the first two bands suffer from a sort of musical ADD.

15-foot Santa at the Elmo

I first saw The Love Machine earlier this year at the Lovely Killbots' CD release. They write upbeat tunes with catchy choruses that are easy for a new crowd to pick up. But they simply have to change tempo and melody 3 or 4 times every song. Add to this a propensity to segue into the next song, and someone unfamiliar with their music would have no idea what's what. Although that is better than their other tendency, which is to trail off and then abruptly end the tune.

This was my 3rd exposure to The Elwins. I do find myself enjoying their music more now but they have the same issue: shifting melodically numerous times in a song. OK, maybe both bands are trying to add something new to the pop landscape. But the truth is that the Tin Pan Alley structure of a pop song is a very restrictive and relatively unsophisticated form. There's only so much you can do with a kazoo. So why abandon its strengths for failed experimentation? Anyway, that came off more dismissive than warranted. In their favour, The Elwins have excellent stage presence and was able to engage the typically stand-offish Toronto crowd.

Temple of Tone-Deaf?

Spanish Harlem Orchestra

When the new concert venue of the Royal Musical Conservatory opened, everyone agreed that Koerner Hall was beautifully built and had wonderful acoustics. I have yet to attend a concert there and so was excited to see the Spanish Harlem Orchestra Friday night. It is a beautiful venue but the verdict on that acoustics is mixed for me based on this one show.

The glass enclosure that left exposed the brick walls of the adjacent older buildings is a better meld than the ROM's Crystal monstrosity. I enjoyed looking at the antique instruments on display along the walls and the concert hall itself is beautiful and quite cozy; I had expected something of Massey Hall proportions. My seat was in a balcony row that wrapped around behind the stage itself. This generally would not be ideal at most venues but here afforded a great close-up view of the performers.

The Spanish Harlem Orchestra played toe-tapping Latin music all night. Although both the venue's director during the introduction and the singers throughout most of the evening exhorted the crowd to get up and dance (in the aisle), most people stayed seated though they did clap along and cheered every song. The orchestra's director claimed that they are trying to show that it wasn't just about music you can dance too. Although I admire their musicianship, especially the poly-rhythmic percussions, that was a hard sell. Every song had that infectious salsa, cha-cha-cha, and other Latin rhythms. Efforts at more classical arrangements such as Joy To the World and Winter Wonderland were awkward fusion that were less effusively received.

Heavyweights Brass Band

My main issue was the sound. The amps seemed underpowered, perhaps the sound guys were relying on the room's natural acoustics to amplify more. The singers' voices were muffled as well as some of the instruments. So a lesson learned: for amplified performances in this hall, with speakers facing the main audience, don't buy seats behind the stage. However, during the second half, I moved to the left-side of the balcony section in front of the speakers and things didn't improve much. The singers sounded much better. But the trombones and saxes were still barely audible, even during solos, and the piano was non-existent except for very quiet passages. Perhaps I need to get my hearing checked. Or given that the singers had mic troubles all night, perhaps tthe sound engineers at this vaunted concert hall got the mix wrong or had equipment issues all night.

After the concert, The Heavyweights Brass Band entertained in the main lobby.

Sincerest Flattery

On Thursday night at the Comedy Bar, they had a charity fund-raiser called Other People's Stuff where local comedians did other comics' material instead of their own since comics are always being accused of stealing material. Only two did a straight up comedy routine: a Woody Allen bit that did not fare well, and some Chris Rock jokes that got some of its humour by being delivered by a short white man (Paul Bellini of Kids In the Hall's "Touch Paul Bellini"). A variation was mock routines that pay tribute to the performer: Russell Peters "jokes" that were straight up racist if not spoken by Peters himself and a kitschy Phillippe-Andre Gagnon (one of the funniest bit).

There were also a few re-imaginings: Abbott and Costello's Who's On First as done by Clarice Starling and Hannibal Lecter; Albert Brooks' Comedy Minus One with "Colin Mochrie". There were also tributes to kids comics: Christian cartoon Davey and Goliath; and a real-life Hagar The Horrible (the premise being a terribly unfunny newspaper comic will be just as unfunny acted out).

The most successful routines were from TV: Monty Pythons' Oscar Wilde sketch, The Frantics' A Piece of Pie, Second City's Gump (a painfully unfunny re-enactment), and Mitchell and Webb Look's Old Holmes. The night also included a few musical numbers: an original song that used all of Rob Ford's inflammatory and bone-headed remarks over his political career; one of the Frantics showed up to sing the hilariously witty I've Seen Pubic Hair (MacClean and MacClean); Dennis Leary's Asshole. The night ended with the uplifting song Because We're Kids from the live-action Dr. Seuss movie The 5000 fingers of Dr. T (1953).

Once More, With Feeling

On Saturday night I went to the last performance of Ride The Cyclone. For those keeping track, this would be the 4th time including 2 during their Summerworks debut. But I wanted to see it at a night-time setting in a sold-out venue knowing that the audience vibe would be quite different than a 2 pm show. Though I don't think I was the most dedicated Cyclone-ite there. Last Saturday, at the Frank and Lily show, I talked to an older gentleman who claimed to have gone every night that week. That would be 5 times in a row. I saw him again tonight and if he was serious about it, this would be his 6th performance ... or possibly 10th.

The actors performed with extra verve and emotion tonight. The songs were even more energetic and the pathos were keener. Kelly Hudson as Constance Blackwood could not restrained her tears during her monologue about the lonely life of a fat teenager. The audience rewarded the cast with 3 enthusiastic curtain calls at the end. During the show, every solo got extended cheers and claps, the longest of which was for Rielle Braid's Ocean O'Donnell. After her electric "gospel" number, the sustained applause went on for a minute or more, forcing Matthew Coulson (Misha) to have several aborted starts before he was able to continue with his lines.

This was a wonderful way to end a 3-week (and completely sold-out) run for this show. For the final bow, you can see how much joy the cast experienced for their hard work. But I'm still waiting for that soundtrack.

End of An Era

L Con

Friday night, one of my favourite local band, Hooded Fang, played their last show. Ok. That was a bit too dramatic. Over the years, this large group has lost one of its original singers, a backup singer/trombonist, and a change of drummer. But this show would see the end of Lorna Wright (singer/glockenspiel/miscellani) and Nick Hune-Brown (singer/piano). They were an essential part of the group's upbeat pop sound. But in recent songs, including those off the sophomore Tosta Mista, the lead Daniel Lee has taken Hooded Fang into more rock territories. With his extracurricular dabbling in punk (Tonkapuma) and other sounds (Hut), it wasn't clear about the group's future. Also, Lorna and Nick had made in-roads into other areas. I didn't know that they had written Ross Petty's Christmas pantomines for 2 years running (last year's Beauty and the Beast and this year's The Wizard of Oz.) Lamenting the pre and post transition of a local indie band? I have turned into a card-carrying hipster.

Speaking of hipster culture, the first band L Con is steeped in it. The 6-member band (3 singers, bass, cello, and violin) wore red make-up and played dreamy slow music that reminds me of Bjork's Homogenic sound. Their percussive beats were not generated by a synthesizer or drum machine but some sort of 80s analog musical device and a bulky cassette player. That's right, they played their backing track not from a Mac but a tape.

The second band Army Girls did the Julie Doiron reverse-White Stripes setup where the guitarist was the woman and the drummer was the dude. The singer was a tiny dynamo (first time I saw her was with jazzy Donlands & Mortimer) playing lots of catchy, driving chords. She had a number of songs that got people to dance, or at least bop along. The only problem was a sameness to her guitar sound that palled near the end.

By the time Hooded Fang came on, the Horseshoe was packed. They played almost everything from their debut album and also a few songs from Tosta Mista though none from their EP. Cuff The Duke came on to sing backup for the final number Den of Love. The old songs got the biggest cheers because of Lorna and Nick. They played one of their first songs, a unrecorded track 95% of their fans have never heard, and several new numbers. The crowd danced and sang to every tune, some of them a little too zealously from the combination of excessive alcohol and marijuana. Called back for an encore, Hooded Fang played their two biggest "hits" Highway Steam and Laughing.

What A Gem

Wednesday night, I made my way to Queen and Broadview for dinner. I don't spend much time in the East end so I was surprised by the amount of gentrification on this stretch, though the Opera House and Jilly's are still around. Ruby Watchco, a dark wood-accented bistro enlivened by a glittering Ruby Watchco sign,  is owned by celebrity chef Lynn Crawford. Although not an open kitchen, there is a partial view into the kitchen in the back. The waitstaff is attentive but unobstrusive. Your only choice is a daily prix fixe menu of $49.

On this night, it comprised of Walnut Hill Ham & Bosc Pear Salad, Ruby's Brick Chicken with Truffle Leek Sauce, Naramata Bench by Poplar Grove Cheese, and a Bourbon Chocolate Pecan Pie. The salad was hit and miss. The heirloom tomatoes, pear vinaigrette and blue haze complemented one another. But the romaine was strictly filler (most salad isn't worth the effort of chewing) and the salty ham was not a good contrast.

Luckily, The brick chicken was excellent: tender brussel sprouts with smoky bacon lardons, the roasted rutabagas gave off bursts of sweetness with each bite (reminiscent of sucking on eucalyptus candy on a winter day) and the apple mustard chutney tasted more like caramelized pineapple. Lentils is lentils, but drenching them in brown butter was quite appetizing. The brick chicken was soft and tender. I'm not usually a fan of non-crispy chicken skin but Ruby's was tasty without that gelatinous fatty taste. A large and filling main dish, there was enough for the next day's lunch.
After that chicken, I was done. But there were 2 more dishes. I enjoyed the brandied cherries, not too sweet, but the cheese should have been sharper for balance. The pecan pie with vanilla cream was held back by the chocolate base which subdued the nuttiness.

How was the chicken the next day? Microwaved chicken is a foul-smelling and barely edible food but this was superb. In fact, having a night to soak in all the different sauces, the rutabagas, brussel sprouts, and lentils were divine. This was possibly the best packed lunch I've ever had. So not only is the prix fixe a great deal for the quality and portion, but Ms. Crawford should consider adding a pret-a-porter lunch counter because that was some good eating.