Jazz Guitar Duo

Two distinguished-looking men sit on wooden chairs, angled towards each other. Each holds a stunning hollow-body guitar. They seem as though they're conversing as they trade off soloing and playing rhythm. One has a trim mustache, the other a soul patch. Both are clearly engrossed and they create intricate, smooth jazz which brightens a cold afternoon.

The scene was CJ's Café in Bronte last Sunday. The duo was 1 + 1. BH Maitland and Dr. Z were introduced by their guitar teacher, Martin Taylor. They play Latin jazz, “gypsy jazz” and sophisticated arrangements of standards.

My favourite pieces that afternoon were Reinhardt/Grappelli's Swing '42, Jobim's Girl from Ipanema and Just Friends. 1 + 1 made their melodies sound effortless. I felt a sense of movement and serenity. Like taking a vacation without travelling anywhere.

On break I spoke with Maitland and Z. Miles Davis came up. We talked about how not so long ago Davis was racially targeted and brutalized by cops outside Birdland, where he was performing. 1 + 1 does a beautiful version of All Blues. On a lighter note, Z also recalled that at one point Miles had platform shoes with built-in fishbowls.

1 + 1 sometimes takes requests. Certain numbers are harder to place as instrumentals. A couple of patrons beside me were enjoying naming tunes like Gershwin's Lady Be Good and Stella by Starlight.

1 + 1 play CJ's Café April 27th, 12-2. The Sunday after Easter. Free.

Pink Floyd as Reggae

Today I was at a café with my mom and sister. At one point we heard Pink Floyd's Breathe as a reggae cover. It turns out NYC's Easy Star All-Stars have made a tribute album of Pink Floyd's classic, in its entirety. It's hugely entertaining and very well realized. Their discography also includes their versions of OK Computer, Sgt. Pepper's Lonely Hearts Club Band and Thriller.

On Radiodread their instrumentation is inventive. To great effect, they've chosen to use brass, piano and melodica where the original used completely different instruments. A number of guest singers are featured and their vocals are unique. On Paranoid Android Kirsty Rock sings Thom Yorke's melody in his range. On Exit Music (For A Film) Sugar Minott sings in a lower register and the sense of the song is still smooth, dreamlike, disconcerting. Let Down works particularly well as an up-tempo ska song.

Pink Floyd is a favourite source for covers. Canadian band Luther Wright and the Wrongs interpreted The Wall as a bluegrass album. Also a surprising choice, skillfully executed. Comfortably Numb is a real departure from the flavour of the original, while the arrangement is unified and catchy.

Toronto residents are used to the posters for Reg Hartt's screenings of The Wizard of Oz paired with Dark Side of the Moon and Nosferatu with Kid A/OK Computer. Easy Star All-Stars' Dub Side of the Moon also includes instructions on how to sync the record with the 1939 film. Curious, I checked YouTube. In the opening there are some parts which align well (Dorothy balancing on a railing, then falling, the farmhand running to her, the first appearance of the “witch” on a bike). I'd say, though, that there are big sections where audio and visual don't make sense together, at least not while sober. If anything I found the intro goes better with the All-Stars' idyllic rendition of Breathe, even if the jungle beats of On the Run are totally at odds with the visuals for Somewhere Over the Rainbow.

The Easy Star All-Stars play the Opera House April 5th.

Jazz History in Toronto

A couple of weeks ago I asked my dad if he'd like to go to a concert with me on his birthday. He said yes. The event, Syncopation: Black Roots featured a number of top-notch ensembles showcasing the Toronto Black music scene from the '50s, '60s and '70s.

The man behind the show was Archie Alleyne. A preeminent jazz drummer, bandleader and dedicated activist, his presence is charming and welcoming. Alleyne's career has spanned six decades. Since 2003 he has been awarding scholarships to young musicians to help them pursue advanced music training. In the program Alleyne keenly says, “When I started playing professionally, men and women were still required to use separate entrances at some entertainment establishments, while others barred Blacks from entering outright. Thankfully, the times were changing.”

I was surprised to find my dad knew of Alleyne from performances in the '50s. At that time my dad was a commercial artist and aspiring actor. Not a jazz aficionado per se, he was always on the lookout for new and exciting experiences. Departures from his conservative upbringing. In the '50s Alleyne was quickly establishing himself as a distinguished jazz player.

The Syncopation MC invited audience members to share their memories of groundbreaking musicians and venues of Toronto past. The room seemed shy at first, however, Archie joked that they should speak up before they got “volun-told”. My dad remembered seeing Alleyne at the First Floor Club, near bohemian Yorkville, and enjoying every minute of it.

A high point of the afternoon for me was Jay Douglas' set. Not only was his singing bold and soulful but his dancing was riveting. While Douglas is a senior he could hold his own with anyone in terms of raw energy. He had expert moves, fancy footwork and a mischievous expression. He made use of the entire stage.

The show was a fantastic view into the history of musical entertainment in Toronto. It was lovely to unexpectedly discover a bit of family history as well.