It is Catherine MacLellan's voice that strikes you first. Pure and haunting, it caresses softly, insinuating itself into your heart, and just won't let go. Then, the subtle strengths of her deeply confessional, powerfully poetic songs emerge, revealing hidden layers with every listen.
She has certainly been embraced by the Atlantic Canadian audience, as shown by the two 2005 PEI Music Awards (and East Coast Music award nomination) she received for her solo debut. MacLellan is highly supportive of her regional peers. "There's a community of singer/songwriters here all running in the same circles, and it's nice to feel we're colleagues and friends."
Finding the good in goodbye is always bittersweet. JUNO nominated roots duo Madison Violet (Brenley MacEachern and Lisa MacIsaac) can attest to that with their latest release, The Good in Goodbye, out on September 6 (True North Records). An album born from their growth, both together and apart, The Good in Goodbye is an open diary of their personal and professional experiences together as friends and musicians, two very unique relationships that affect each other in profound ways.
Since releasing their last album, No Fool for Trying (2009), Madison Violet won the 2009 John Lennon Songwriting Contest for their track “The Ransom,” took home the 2009 Canadian Folk Music Award for Vocal Group of the Year, and were nominated for multiple East Coast Music Awards and a 2010 JUNO Award for Roots & Traditional Album of the Year (Group).
As a follow-up to their breakthrough successes in 2010, The Good in Goodbye captures the duo’s growth and musical maturity. Their distinct take on iconic Americana-inspired up-tempo melodies beautifully contrasts with their breathtakingly sweeping and personal lyrics, creating songs that blend nods to Lucinda Williams and Gillian Welch with radio-friendly flecks of The Court-Yard Hounds.
To say he plays the harmonica is like saying "Jimi Hendrix plays guitar". He blows the blues harp through a prism -- suddenly it seems he's holding every color in the musical rainbow right there in his hands.
Simultaneously sophisticated and raw, his playing blurs the boundaries between blues and jazz (hence the name for his band “The Blues Mongrels”). The emphasis is on blues, but Carlos and his band are not afraid to merrily traipse off in other directions delivering a seamless fusion of New Orleans second line grooves, swing, Latin, hip-hop or ska melodies, to swampy roots rock.
Playing a ten hole diatonic harmonica, Carlos has developed the unique ability to play chromatically by using a recently developed "overblow" technique taught to him by jazz virtuoso Howard Levy. Overall, this approach to the diatonic harmonica, although much more difficult to achieve, is in many ways more expressive and communicative than the mechanized tone produced by the chromatic harmonica . Carlos is one of the few pioneers of this overblow method, bringing musical credibility to what has still been considered by many in the music industry - a fringe folk instrument. The sophisticated sound produced by del Junco is at once sensitive, soulful, and sexy while never forgetting the rawness inherent in blues music.
Evening Performance at 8 pm, Doors open at 7 pm - Opening - Sarah Troy - SOLD OUT
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