The Ramblings Of A Strange Dog

Thoughts, mostly about music, life and the water of life.

[warning-strangedog]

I’M BACK

I took a hiatus from blogging due to taking on a new leadership role in the healthcare field. I needed to focus on that and so my writing suffered.

I missed writing so I’m going to take another stab at blogging. I’m at the Glastonbury music festival right now so that’s what my next post will be about.

Talk soon.

[warning-strangedog]

A Simple but Powerful Expression

Thank you. It's a simple phrase but oh so powerful. Over the past few years I've been fortunate enough to get to talk to different groups on the subject of leadership. Most recently I spoke on the subject as part of a leadership day with HBA students at the Ivey School of Business. These talks generally cover what qualifies me to talk on such a lofty topic, the basic definition of leadership, leadership behaviours, how leadership styles need to change at various stages of your career and my career journey and lessons learned. However, I try to keep these topics short because what I find of greatest value to the audience is answering their specific leadership questions. Invariably someone always asks what is the one piece of advice I would give to a new leader. It's a simple answer. "Just focus on the humanity, the interests and the dignity of the people around you. Be humble and say thank you a lot." In this day and age we all seem strapped for time, we're all working hard and have many conflicting priorities. In fact I believe many people are conflicted most of the time about how they spend their time and their money. Expressing gratitude let's a person know that you appreciate that they took time out their day to focus on you or something you asked them to do. It's an easy way to let them know you value the effort or the thought. It's a very positive form of recognition and it's so simple. You can say it, send an email or text, actually pick up the phone and call. They key is it needs to be genuine and meaningful. And so I tell these aspiring leaders to look for opportunities to say thank you. You'll be amazed at the reactions. Most people don't get much thanks and they'll treasure the moment. I'll close with an example. Last night I went to the basketball game. I'd been given a pair of seats and in turn had given my regular tickets to a team member who had been working diligently on a tough assignment. So the tickets were a way of saying thank you. But before the game started I went up to his seats to say hi and found out he had taken his dad to the game. So I said hello and then proceeded to tell his dad how he should be so proud of his son for all that he was accomplishing and how important he was to our success. It was all true and quite genuine. His dad was beaming and my team mate was as well. It took 5 minutes to say thank you and I have no doubt it was a memorable and motivational experience for the employee. But, to me the most important outcome is that a human being on my team knew they were valued and their leader had expressed gratitude. Simple. Powerful. Kind. Thank you. It's a powerful phrase that can make someone's day. Say it more often. Look for reasons to say thank you everyday you'll be amazed at the impact. Thank you for reading this.

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Steve Earle at City Winery NYC

It was a full house that came to see Texas borne Steve Earle at the City Winery in New York on Monday, January 16.

But it was not just any Monday; it was, Martin Luther King Jr. Day. As you all know, King was the chief spokesman for nonviolent activism in the Civil Rights Movement, which successfully protested racial discrimination in federal and state law.

I was in town for a retail conference and had managed to snag a ticket to see one of my favourite performers, Steve Earle. Given his history of protest he seemed like an appropriate artist to see on this day.

I’d never been to the City Winery and didn’t know what to expect. It was a pleasant surprise, a warm room with lots of wood and quiet conversation. While the tables were close together the room felt spacious and most seats had a good view of the stage.

The show opened with Amy Helm, a singer/songwriter with a deeply expressive voice backed up by two very talented guitarists. Helm has been playing guitar and mandolin since she was a child and in 2015 released her first album “Didn’t It Rain”. And yes, she is the daughter of the late Levon Helm of The Band fame.

After a 6 song set Earle joined the band for “The Mountain” and then after a short break returned and kicked off his set with an homage to singer/songwriter Greg Trooper who passed away the previous day by playing “I Don’t Care What You Do to Me”.

This was followed up with “Taneytown”, a song about racism and the civil war and then the bluesy number “You’re the Best Lover That I Ever Had”. Now Earle’s life is larger than most. With seven marriages to six different women; prison; heroin addiction and recovery; and his anti-death penalty/anti-war actions you have a lot of material for a story teller of his calibre. Now sometimes his between song stories can be a little windy but most of the time I feel like we’re sitting in his recreation room as he gives me the backstory on his songs or shares his logic on his political leanings.

The audience hung on every word whether it was about addiction (Cocaine Cannot Kill My Pain), past loves (Sparkle and Shine or Fearless Heart) or songs “only a twenty year old could write” (Ben McCulloch) or just plain old hard luck (Tom Ames’ Prayer). Here’s a picture of a 20 year old Earle.

Giving us a performance of nearly two hours, Earle also made sure to treat us to hits like “Guitar Town” and “Copperhead Road”.  He’d often introduce a song by strumming the opening chords while telling us the background. The audience’s love for this poet with a guitar was in fact never more evident than when he played Copperhead Road, probably his most recognized song. The ovation was loud, raucous even, with cheers and a warmth that the artist could feel. Here’s a peek...

My listing of all the songs is incomplete  but in honour of Martin Luther King he played “Tell Moses” and talked about all the work that remained in relation to equality. “The Galway Girl” had the audience singing along to the chorus and then he came back for a quick encore with “Christmas in Washington”.

Now Christmas in Washington is one of my favourite Steve Earle tunes. This song is about the state of the nation, but Earle says” it’s also about some of the things I've lost along the way.” He opened with a lengthy commentary on the recent election and the fact that he was in Ottawa on election day (he voted in the advance polls). He told us how he was asked if he was moving to Canada and then explained why now was the time to stay in the United States and fight for what was right. It was a long preamble to this song but it was pure Steve Earle and made me love him even more. The audience loved it too singing along to the chorus of a song which is about bringing back heroes and the need for more heroes in these challenging times. It goes like this:

So come back Woody Guthrie  Come back to us now  Tear your eyes from paradise  And rise again somehow  If you run into Jesus  Maybe he can help you out  Come back Woody Guthrie to us now

He played the chorus at the end a few times and the audience got louder and louder until Earle strummed it to a close. And then as quickly as the night had started it was over; a rousing round of applause and we all headed back out into the cold with a little more warmth and humanity in our hearts thanks to Steve Earle.

I can’t wait to see him again!

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This New Year’s Resolution is Focusing on Choice!

I wrote this missive on the way back from the Consumer Electronics Show which in many ways is the start to my New Year. It’s a time when I reflect on what went well in the previous year and what went poorly. Not just from a business sense but also in my personal life. Because of that consideration I think about what I need to change or emphasize to have a better year. And from that thought is born my New Year resolution.

Last year I realised that I wasn’t letting music play a significant role in my life. I had shunted it to the side as more “important” things took over. For someone who loves music and has often defined a part of myself through music I felt the mistake I had made and hence resolved to see more live music.

I can report back that I fulfilled that resolution in spades. I made it to scores of concerts ranging from classical to rock to folk to jazz. More importantly the music gave me the energy I needed to deal with several difficult situations and gave some balance to my life.

So, you might ask, “what is my choice for 2017?” Well, the answer is choice itself. We’ve probably all heard the line that there are two kinds of choices those being the ones you made and better ones. I’m resolving to simply make better choices.

I don’t believe this will be easy because it means I must be more conscious of what I am doing. I will need to be more self and situational aware because to make better choices you must be aware you are making a choice and why. I know for a fact that everyday I just act by rote on many things and do what I’ve done before rather than ask myself “is that a good decision”. And so, my plan is before acting, to try and  ask myself “is this the best decision?”

Now such a resolution could become overwhelming as almost every action could require a decision. Grey socks or blue? Bayview or Mount Pleasant? Islay or Highland? Now none of these types of decisions really matter or impact anyone so I’m not going to worry about them. And of course, in my world of whisky the Islay versus Highland question isn’t real. For me it’s always Islay!

Focus, that will be the other part of my resolution. My plan is to focus on three areas of choice. The first focus area will be relationships. I am going to try to think more about the decisions I make that impact those with whom I interact. The outcomes I am looking for are stronger relationships and greater levels of understanding. The second focus area is food. The outcomes I am looking to create here are increased energy levels and overall improved health. Lastly, I plan to focus on my mental health. Am I making good decisions that strengthen my mental acuity and sense of well-being?

Given that last year was the first time I ever made a resolution, this year’s choice seems rather challenging in almost logarithmic proportions. And yet I think it’s worth giving it some real effort. If at the end of the year I have stronger relationships, greater energy levels and am mentally stronger the efforts will have been insignificant to the reward.

So, this is my choice for 2017. It won’t be easy and I could use your help. If we’re doing something together feel free to ask me “have you really thought about that?” It could be the nudge I need to make a better decision.

Happy 2017 everyone! I wish you all much happiness, prosperity and health in the year to come for you and yours.

[warning-strangedog]

Chick Corea at The Blue Note

I was in NYC last week and managed to score a ticket to see The Chick Corea Elektric Band at the Blue Note Jazz Club in Greenwich.

Chick Corea is an icon in the music industry. A bandleader, a composer and a keyboardist; he is the fourth most nominated artist in Grammy awards history with 63 nominations and 22 wins. His depth is astonishing from bebop to jazz-rock fusion, straight jazz to avant-garde and even symphonic works. In the late 60’s and early 70’s he played with the legendary Miles Davis. In other words this man is a Giant of Jazz.

The Elektric Band gained fame in 1986 with the release of their self-titled debut album with Corea on keyboards, John Patitucci on bass and Dave Weckl on drums. What’s considered the classic line-up began in 1987 when Eric Marienthal on saxes and Frank Gambale on guitar joined and they recorded Light Years.The E Band quickly became a top electric jazz unit with numerous world tours and eight albums produced with 2004’s, To the Stars being its most recent. 

I’ve been a huge fan of Chick Corea’s acoustic work and was quite excited to finally see the Elektric band. I had a great seat about 3 feet off the stage and the view was perfect. I was so close that I could touch the guitars and drum kit.

The band came out on stage at 8:10 and proceed to play for roughly ninety minutes. They didn’t announce the names of each song but I’m reasonably sure they played Trance Dance, CTA, Jocelyn -The Commander, Beneath the Mask, Silver Temple and perhaps as an encore, Got a Match?.

As you would expect the musicianship on display from the first note to the last was superb. But for me the performance was quite choppy with moments of brilliance interspersed with lacklustre performances that made me feel as if the band was simply going through the motions.

The rhythm section of Pattitucci, mostly on 6 string electric bass and Weckl on drums did a fine job and played with imagination, brilliant technique and at times seemed so in synch as to be one.  I’m not a fan of lengthy drum solos and yet, for the most part I enjoyed Weckl’s trips to solo heaven and I simply marvelled at the sound Pattitucci delivered. 

Gambale on guitar was a whole other story. Again, there is no doubt of his masterful technique but he had no personality and you could have substituted any number of guitarists without missing a beat or stanza. The most revealing thing about Gambale was when he removed his hat to show us that he was totally bald. I would have much preferred that he astonished us with his guitar rather than a magic hat.

The big surprise for me was Marienthal. I found his solos on three of the pieces to be simply exquisitel. His musical line was creative, fluid and eloquent. I knew he was a good player but some of his solos bordered on genius. I’d go well out of my way for a chance to see him again. 

 So that brings us to the bandleader, composer and keyboardist himself, Mr. Chick Corea. I found it hard to believe he was really into the performance and felt oftentimes he was playing by rote. His juvenile sense of humour was a painful and a jarring surprise. Don’t get me wrong, it wasn’t all bad and there was some real  wizadry and mysticism on Silver Temple (Ginkakuji) a song he penned while on tour in Japan in post-bop fusion piece. I found the whole piece simply enchanting and wondered if Corea’s memories of Japan gave him a new energy that elevated his playing to a level we had not experienced earlier.

I’ve often said a band’s last song of the evening  is its most important because it may have the most lasting impression due to the recency effect. Consequently, it was an unfavourable impression with which I left. Chick broke out the keytar, a lightweight electronic keyboard supported by a strap around the neck similar to a guitar.

He began by playing a few notes and asking the audience to sing them back. This went on for about 5 minutes which was about 4 minutes too long as evidenced by the band’s disinterest in the whole process. He finally broke into the final number and the band joined in followed by individual solos eventually circling back to Corea who was taking perverse delight in playing with his left hand and slapping one of the drummers cymbals with his right and then handing the keytar to the drummer to play a few notes. This tiresome antic finally ran out of steam and the mercifully the song ended. 

After a round of applause, some standing to ovate, the band exited the stage and the audience poured out onto west 3rd and dispersed into the cold dark night while past the line-up of expectant fans looking forward to the second show of the evening.

As you might have noticed it has taken me more than a few days to write this piece and I know it’s partly because of how conflicted I feel about the show. Chick Corea is a jazz legend whom I have followed for years. I have almost all his albums and have quite enjoyed his music for many years. Seeing him live I was expecting fireworks and amazement. Instead I got firecrackers and was totally underwhelmed. There were moments of brilliance but there was also a lot of mediocrity and a dismal stage presence. I’m writing it off to a bad night by the band. But there is only one way to be sure. 

In the near future I plan to return to New York and go to another one of the Chick Corea shows. Hopefully, I’ll see the master I was expecting and can report back on an elevated  level of enchantment and enthusiasm for this jazz icon.

[warning-strangedog]

My latest concert review. Chick Corea and the Elektric Band at the Bluenote.

[warning-strangedog]

Chick Corea at The Blue Note

I was in NYC last week and managed to score a ticket to see The Chick Corea Elektric Band at the Blue Note Jazz Club in Greenwich.

Chick Corea is an icon in the music industry. A bandleader, a composer and a keyboardist; he is the fourth most nominated artist in Grammy awards history with 63 nominations and 22 wins. His depth is astonishing from bebop to jazz-rock fusion, straight jazz to avant-garde and even symphonic works. In the late 60's and early 70's he played with the legendary Miles Davis. In other words this man is a Giant of Jazz.

The Elektric Band gained fame in 1986 with the release of their self-titled debut album with Corea on keyboards, John Patitucci on bass and Dave Weckl on drums. What’s considered the classic line-up began in 1987 when Eric Marienthal on saxes and Frank Gambale on guitar joined and they recorded Light Years.The E Band quickly became a top electric jazz unit with numerous world tours and eight albums produced with 2004’s, To the Stars being its most recent. 

I’ve been a huge fan of Chick Corea’s acoustic work and was quite excited to finally see the Elektric band. I had a great seat about 3 feet off the stage and the view was perfect. I was so close that I could touch the guitars and drum kit.

The band came out on stage at 8:10 and proceed to play for roughly ninety minutes. They didn’t announce the names of each song but I’m reasonably sure they played Trance Dance, CTA, Jocelyn -The Commander, Beneath the Mask, Silver Temple and perhaps as an encore, Got a Match?.

As you would expect the musicianship on display from the first note to the last was superb. But for me the performance was quite choppy with moments of brilliance interspersed with lacklustre performances that made me feel as if the band was simply going through the motions.

The rhythm section of Pattitucci, mostly on 6 string electric bass and Weckl on drums did a fine job and played with imagination, brilliant technique and at times seemed so in synch as to be one.  I’m not a fan of lengthy drum solos and yet, for the most part I enjoyed Weckl’s trips to solo heaven and I simply marvelled at the sound Pattitucci delivered. 

Gambale on guitar was a whole other story. Again, there is no doubt of his masterful technique but he had no personality and you could have substituted any number of guitarists without missing a beat or stanza. The most revealing thing about Gambale was when he removed his hat to show us that he was totally bald. I would have much preferred that he astonished us with his guitar rather than a magic hat.

The big surprise for me was Marienthal. I found his solos on three of the pieces to be simply exquisitel. His musical line was creative, fluid and eloquent. I knew he was a good player but some of his solos bordered on genius. I’d go well out of my way for a chance to see him again. 

 So that brings us to the bandleader, composer and keyboardist himself, Mr. Chick Corea. I found it hard to believe he was really into the performance and felt oftentimes he was playing by rote. His juvenile sense of humour was a painful and a jarring surprise. Don’t get me wrong, it wasn’t all bad and there was some real  wizadry and mysticism on Silver Temple (Ginkakuji) a song he penned while on tour in Japan in post-bop fusion piece. I found the whole piece simply enchanting and wondered if Corea’s memories of Japan gave him a new energy that elevated his playing to a level we had not experienced earlier.

I’ve often said a band's last song of the evening  is its most important because it may have the most lasting impression due to the recency effect. Consequently, it was an unfavourable impression with which I left. Chick broke out the keytar, a lightweight electronic keyboard supported by a strap around the neck similar to a guitar.

He began by playing a few notes and asking the audience to sing them back. This went on for about 5 minutes which was about 4 minutes too long as evidenced by the band's disinterest in the whole process. He finally broke into the final number and the band joined in followed by individual solos eventually circling back to Corea who was taking perverse delight in playing with his left hand and slapping one of the drummers cymbals with his right and then handing the keytar to the drummer to play a few notes. This tiresome antic finally ran out of steam and the mercifully the song ended. 

After a round of applause, some standing to ovate, the band exited the stage and the audience poured out onto west 3rd and dispersed into the cold dark night while past the line-up of expectant fans looking forward to the second show of the evening.

As you might have noticed it has taken me more than a few days to write this piece and I know it’s partly because of how conflicted I feel about the show. Chick Corea is a jazz legend whom I have followed for years. I have almost all his albums and have quite enjoyed his music for many years. Seeing him live I was expecting fireworks and amazement. Instead I got firecrackers and was totally underwhelmed. There were moments of brilliance but there was also a lot of mediocrity and a dismal stage presence. I’m writing it off to a bad night by the band. But there is only one way to be sure. 

In the near future I plan to return to New York and go to another one of the Chick Corea shows. Hopefully, I’ll see the master I was expecting and can report back on an elevated  level of enchantment and enthusiasm for this jazz icon.

[warning-strangedog]

Seeing a Giant at My First Concert

A reader of mine who knows me well asked me to write some pieces about my favourite concerts. Now I have lots of material on this subject having seen everything from Led Zeppelin to Oscar Peterson to Herbert Von Karajan and the Berlin Philharmonic playing Carnegie Hall. So it was really a matter of where to start and I realized I should start at the beginning.

On July 24, just 7 days after my 10th birthday my Father took me to the O’Keefe Centre to see Louis Armstrong and his All Stars. It was the last day of his six day concert series and I believe his last appearance in Toronto. I don’t have the tickets but I still have the original program from that show.

Now it might seem an odd birthday present for a 10 year old but Dad and I had spent many a Sunday afternoon listening to his collection of jazz and classical records. I remember those times well as I often sat on his knee or in his lap in a big old leather chair in the living room with the music pouring out of stereo system. I also know Dad really wanted to see Satchmo and it was as much a gift to himself as it was to me. And don’t worry, I got a gold CCM three speed as my other present on my special day.

So down we went, both of navy blazers, white shirts, ties and of course those fake pocket squares the dry cleaners used to give away with every order.

We parked close to the King Edward Hotel and had a meal there. I don’t remember anything about it except the waiters were all dressed in uniforms and Dad gave the maitre’d a tip for a good table.

The show was at the O’Keefe Centre which opened in 1960 and brought a new sophistication and glamour to Toronto’s theatre-going experience. Considered a cultural oasis in the city’s downtown the theatre was considered a great representation of architect Peter Dickinson’s bold use of stone and metal and included a daring canopy over the entrance lined with rows of mirrored globe lights. 

The beautiful interior featured walls of white Carrara marble, cantilevered staircases of granite and bronze and cherry wood acoustic paneling.The O'Keefe, later called the Hummingbird Centre (1996) and then the Sony Centre (2007), was designed to present ballet, dance, Broadway musicals, opera and performers.

The primary memory I have about the theatre was this giant mural called the Seven Lively Arts mural which was created by York Wilson and was something like 100′ by 15′ high.

We got to the theatre and took our seats and shortly thereafter the show began. Satch was 65 years old and was nearing the end of his career. He smiled his trademark smile and rolled his eyes and shook his jowls. He played and the band played their solos but I do remember him leaning slouched against the piano and looking tired. But his music still had life and we were witnessing the swan song of a giant life that would go on for another six  years until his death on July 6, 1961, almost exactly 6 years to the day we saw him play.

There are things that as a child you always remember. That first Christmas, first birthday party, learning to ride a bike and the list goes on. But the most vivid memory I have of my childhood is our drive back home. Dad smoking his pipe’ Ray Sonin spinning tunes on CFRB and the two of us chatting about which song we liked the best.

It was a magical time for me and probably the best birthday present I have ever received. Thanks Dad. You mad it a Wonderful World for me.

[warning-strangedog]

Chasing Trane: A Giant Gets His Due

I’ve always been a fan of John Coltrane. How could I not be? He’s a God in every sense of the word. John Coltrane was a superhuman being who took jazz in directions that aren’t totally understood today.

This film, directed by John Scheinfeld ((Who Is Harry Nilsson, The U.S. vs. John Lennon) is so insightful and respectful that it is truly a tribute hidden behind the framework of a documentary. The experts who talk about their experiences with Trane and his music include former McCoy Tyner, Elvin Jones, Jimmy Garrison, former President Clinton, Carlos Santana, Cornel West, Benny Colson, Wayne Shorter and even Sonny Rollins. In fact Rollins, a tenor playing genius in his own right,  provides the flic’s best accolade when he simply states that you can’t describe music, especially Coltrane’s, with words.

The film is narrated by Denzel Washington and contains so many fascinating pictures and videos. Some of the best being when Coltrane was playing in the Miles Davis Quintet and you see how Miles let Coltrane just do his thing. His whole story is handled so respectfully and I found insights at every turn. I knew his music well but I didn’t know the roots. It was as if someone finally pulled aside the curtain and let me inside the ropes.

But it’s about the music and here Scheinfield really got it right. Throughout the movie the soundtrack is simply the music of John Coltrane performed by John Coltrane. It really was perfect.

Coltrane was taken from the jazz world far too soon dying at the young age of 40 in 1967. His legacy however will live forever. This movie will hopefully expose new fans to his genius.

So, if you get a chance go see this film. I obviously loved it and when I got home I listened to “A Love Supreme” with new respect and even some tears in my eyes.

[warning-strangedog]

TIFF and the Magnificent Seven

Let me start out by saying I adore TIFF. Now I’m not movie crazy but I just love what it does to our city. The palpable excitement, the movie buffs lined up everywhere, the stargazers camping out for that one glimpse, everyone a little better dressed, restaurants buzzing and the closing of King Street, if just for a few days.

So opening night for TIFF is always a special evening for me. A great meal in a private dining room, a world premiere and a crazy after party. What’s not to like; really? The only issue is will I like the movie?

This year it was the world premiere of The Magnificent Seven. So a remake of a remake.  As a premiere the cast was all there which is always fun.

The original, made in 1960, is a remake of Kurosawa’s “Seven Samurai” which wasn’t that great of a movie. However the  Magnificent Seven had one of the most memorable if not iconographic musical themes in Hollywood. You can hear the music here in an old trailer:

I actually remember when the Magnificent Seven  opened because it was one of the first movies my father took me to see  at the Geneve Theatre in Orillia. Of course I’ve seen it many times since then because I have a weakness for Westerns and always felt it was one of the very best. 

The basic plot is seven mercenary gunslingers band together to save the residents of a Mexican village from an evil bandit. Along the way they find their humanity and of course good triumphs over evil. It was  action heavy but light-hearted from a dialogue standpoint. Basically a bunch of macho guys who have to find a way to work together and shoot up a village.

So now the remake. I liked it although I wouldn’t say it was as good as the original. The actors, especially Denzel Washington and Chris Pratt were superb. But the villian, played by Peter Sarsgaard couldn’t hold a candle to the smooth menancing Eli Wallach in the original. Yes I wanted Sarsgaard’s character, a man maned Bogue, to die but it was as much because of his acting as it was his role.

For me the issue was the movie was just too long and somewhat tired. After all, we all knew the plot. So for this version to be better than the original there needed to be something fresh. We’ve had a lot of successful band of men getting together for some noble or not so noble purpose over the years (Oceans 11 and 12 and 13 for instance). So that premise alone doesn’t do it. Yes the locale was different and it wasn’t Mexican villagers but American farmers and townsfolk and the villian wsn’t a bandit but a gold miner but that was it for novelty. Consequently it seems Director  Antoine Fuqua decided that the only thing he could do was extend the major showdown and fight scene. It just seemed to go on and on and on a la Sergio Leone. After it seemed like 100 bad guys had died we had to sit and watch another hundred die and then another 100.

In the end we all cheered when the bad guy finally died (TIFF audiences cheer and clap) and most of the good guys were alive and rode out of town. So it was an entertaining flick but the 2 hours and 15 minutes could have come in at a much tighter 1 hour and 45 minutes and the movie would have been just as good.

And of course if it was a half hour shorter we could have got to the party and the bar that much sooner!

[warning-strangedog]

Riga Black Balsam - Not for the Faint of Heart

A friend of mine gave me a bottle of Riga Black Balsam as a birthday present a few weeks ago. She told me that she had been home to Riga in Latvia and wanted to give me a taste of her homeland. 

Today I finally broke the seal, pulled the cork and had my first taste. 

But before I get to my tasting notes and my impressions we need to have a quick history lesson. 

 In 1757. A Latvian pharmacist named Abraham Kunze developed some snake oil from 24 different plants, roots, spices and oils that cured anything from sword wounds to malaria. He sold this herbal elixir in clay bottles and part of the history is that his miracle concoction saved the life of the Empress, Catherine the Great. 

Riga Black Balsam has been produced in the same Riga factory since 1900 and like KFC, still follows the secret original recipe. It's won many an award throughout the world ( over 30) and has achieved international acclaim at many a fair. 

It’s also got it’s critics. A lot of critics! One review, entitled, “Does Anyone Really Drink this Sh*t” suggested it was either a joke beverage to scare aware tourists and invaders or else it had been created to prove to the world how tough Latvians really were.

So, on to the tasting. On pouring it into the glass the smell is the first thing that really hits you. It’s got a very potent and medicinal nose with hints of black currant, raspberry, maybe some nutmeg and pepper and even some ginger. On the tongue it's raw and fiery, bitter and yet sweet. The alcohol content of 45% gives quite a burn as it rolls down your throat and you get a lovely glow and fire in your belly. Not much of a finish here again due to the alcohol content, it’s just boozy and with maybe a  touch of fruit 

I like it! 

But of course I also like the super peat Islay whiskies which many of my friends equate to drinking straight iodine.

When I went on their website after having a snort it became clear that you either treat it like a cold or sleep aid or make a cocktail with black currant wine. The other suggestion was to mix it with tea or coffee or pour it over ice cream! 

 So it's a versatile liqueur and as I said, one I find quite tasty. 

I'm playing an early round of golf tomorrow and it's supposed to be a little chilly in the morning or at least chillier than we’ve been used to.  I'm thinking a shot  of the old Black Balsam in my coffee might just be the swing smoother I need for a perfect round! 

Cheers!

[warning-strangedog]

The Day the Music Died

I’ve been dreading this day for awhile and tomorrow night it’s finally here. 

The last concert of the Tragically Hip. The last concert ever. It brings tears to my eyes just to write that statement.

It’s all so sad. Canada’s poet lauerate, Gord Downie, having incurable brain cancer. To see him stand on the stage as I did that other night in Toronto and soak up the love and appreciation of an adoring crowd, a generation and a country was a joyous occasion wrapped in heartbreak.

A little piece of my heart died that night because this wasn’t just about a great band no longer making music but the end of memory making machine. Their music was a seminal part of the soundtrack to my adult life. When I hear a song like “38 year’s old” or “New Orleans is Sinking”I can remember where I was and who I was with and what we were doing while listening to or watching the band.

And I think of the venues they played. I saw them at the CNE, Ontario Place, Massey Hall, The Fillmore, The Kee to Bala, Richards on Richards, Bill’s Bar in Boston, Maple Leaf Gardens, The Saddledome, The Forum, The ACC and I even saw them early on in their career at the El Macambo. I remember most of those shows like yesterday although some of my brain cells died because of them.

So, for the last time I want to see them  last Friday night and it was sublime. The music was great, I was with my niece whom I love very much and the audience was so respectful. We’d all come to pay homage to a band and a man who had so impacted our lives. They played all the songs we had come to love and cherish. They gave us time to salute Gord Downie and wish him well. But when they closed with “Ahead by a Century” I thought it was a perfect ending. Because as the song says this was “No dress rehearsal, this is our life.”

Goodbye Gord and thank you Tragically Hip. I’m going to join “ Them good ole boys drinking whiskey ‘n rye and we’ll be singin’ this’ll be the day that I die”

[warning-strangedog]

The Lumineers Leave Ho Hey Behind

It was a warm summer night on July 28th when the Lumineers returned to Toronto at the Molson Ampitheatre to play before an all ages audience of rabid fans.

If you don’t know the Lumineers they are a folk-rock and blues outfit hailing from Colorado that sound like a minimalistic version of Mumford and Sons.  Guitar, drums and cello provided most of the instrumentation although at times there were up to seven musicians on stage. Their lead singer, Wesley Schultz has a cracked and gravelly voice that is ideally suited to their music. Jeremiah Fraites and Neyla Pekarek are both talented musicians and vocalists with Jeremiah moving from drums to piano with ease and Neyla generating a melancholy poignant tone which so counterbalances the folksiness of their tunes.

This tour was in support of their Sophomore album “Cleopatra” which was released in April of this year and immediately went to number one on the Billboard 200. This successful launch of the second album nearly 4 years after their first album has given the band a wealth of songs from which to build a set list and is contributing to their overall touring success.

I missed the first warm up act but managed to see Langhorne Slim and the Law which gave the audience a very enthusiastic performance. 

Their frontman, Sean Scolnick danced the entire set, even dropping down in the general admission pit and dancing with some of the attendees. 

During his performance a concert goer proposed to his girlfriend. Scolnick actually called out the man’s name and let us know the whole proposal had been arranged with the band via Facebook. And yes, she said yes.

The Lumineers came out to a roar of cheers and applause and opened up Sleep on the Floor from “Cleopatra” 

and mixed up songs from the first and second albums. It’s obvious they are confident in their new work as they played their major hit Ho Hey as the fourth song in the set. At the point, or maybe it was just prior, Schultz asked the fans to put away their cellphones and just enjoy the show.

This is becoming more common as bands encourage fans to enjoy and be in the moment rather than watching most of the concert through a phone screen. The amazing thing is it seems to be working. Holy crap, it was refreshing. No one trying to get another shot, no flashes going off; people just watching and singing along.

After Charlie Boy the band hopped off the stage and went to an open area at the base of the 300 section and played Where the Skies are Blue and the Dylan classic Subterranean Homesick Blues.

Then it was back on stage for another five songs including two of my favourites Slow it Down and Submarines.

There was basically no light or stage show which you would expect given their minimalistic approach and use of space so it was a bit of a surprise, a joyful surprise, when confetti started shooting out from some confetti machines during Big Parade the second last song of the night.

The band returned for a four set encore which ended with Stubborn Love. Schultz encouraged everyone to sing at the top of their lungs and many did.

This was actually a better concert than I expected. I have been a fan of the band for awhile but I was worried about how their sometimes delicate and quiet melodies that are arranged carefully around the words would translate in a larger open air venue. After all the Lumineers are about simple songs; songs full joy, or sadness, laughter or pain but simple in their constructs with well crafted musical arrangements.

As it turned out there was no need to worry. It was a spectacular show on a perfect summer night!

Thank you Lumineers. You gave me energy and light from your music. I can’t wait until you return.

[warning-strangedog]

July 1st: Remembering the Battle of the Somme

On July 1st this year I happened to be in London, England on vacation. It was a great time of year to be in London with all the excitement of Wimbledon, some major Art and Antique Shows happening and all the Brexit angst and chatter.

Of course, July 1st is Canada Day to us, when we celebrate the birth of our nation in 1867. But July 1st is also the anniversary of one of the start of one of the most horrific battles of the First World War, The Battle of the Somme. By the time the battle ended, a period of less than 5 months over 1,000,000 soldiers were killed.

What is now the Province of Newfoundland was represented in this conflict by the nearly 700 men of the Newfoundland Regiment (later to become the Royal Newfoundland Regiment). Positioned at Beaumont-Hamel they were ordered to move forward and at 8:45 were ordered “over the top”. The attack was a disaster due to British command’s battle plan and within 15 to 20 minutes most of the Newfoundland Regiment was dead, dying or wounded. Of the 700 who went forward only 68 were available for roll call the next day.

Major General Sir Beauvoir De Lisle, referring to the Newfoundland Regiment’s attack said “it was a magnificent display of trained and disciplined valour, and it’s assault only failed because dead men can advance no further.”

There were many celebrations of remembrance in London and the rest of Great Britain to commemorate the Battle of the Somme but perhaps the most moving was when thousands of soldiers, or walking ghosts as some called them, dressed in First World War uniforms appeared in towns and cities across the UK as part of a live public memorial.

The soldiers sat silent either alone or in groups. Occasionally groups of them would break out in song, singing “We’re Here Because We’re Here”. If you approached on of the ‘soldiers’ to ask them what they were doing, the men remained silent and simply handed out a white card which displayed the name, rank, battalion and regiment of a real soldier who had died at the Somme on July 1 1916.

This was one of the most moving and thought provoking remembrance events I have ever seen. It reminded us how young these men were and how the world lost a generation in a most horrific way. I think this day will stay with me for the rest of my life. July 1st will no longer just be Canada Day for me.

[warning-strangedog]

City and Colour Live - HoHum

There is no doubt that Dallas John Green is a fantastic musician. 

His body of work with Alexisonfire is seminal in the genres of post-hardcore, melodic hardcore, emo and even what has been referred to as screamo. With City and Colour we have acoustic and folk added to the hardcore which coupled with Green’s vocals has been a potent, powerful and innovative combination.  So it was with great anticipation that I attended C&C’s Molson Amphitheatre concert last night. 

It started out rather well. The opening act was Shakey Graves, an Americana musician from Austin, Texas.  This is a man who knows his craft. I’m not totally familiar with his repertoire but I was impressed with the technical prowess and musicality of the band. He opened alone on stage with a guitar and a strange kick drum attached to a suitcase playing a song called Only Son which rocked along. The band joined him and turned it up a notch. Dearly Departed and Roll The Bones were both  particularly memorable due to the quality of guitar work and the audience participation.  

The audience was really into it, dancing and clapping and really showing their appreciation for his music. Truth be told I wish he could have done another 20 songs.

After a short break City and Colour took the stage opening with Woman, then Thirst and next was Northern Blues. It was about this point that I realized all three songs were eerily similar. The band puts up an ear splitting wall of sound, Dallas does some guitar work and sings over the noise about some maudlin or just downright depressing circumstance and the band drones on. By the time we got to the fifth song, Killing Time I was starting to think about killing myself. It was just so bloody boring. A couple of tunes later we hit Lover Come Back and at Dallas’ beseeching, the crowd left its seats; well, more accurately about 50% of them did and the rest just kept talking to their friends. It felt like a giant cocktail party where the band was meant to be in the background not the foreground.

By the time we hit the twelfth song, Runaway, I decided it was a sign from God so I booked back to the bar. I was already 6 gins in but just needed something to kill the pain of this performance. So, fresh drink in hand I decided the best thing to do was leave and so I did. 

I can't remember the last time I left a concert early. I think it was years ago when Neil Young decided to only play tunes from a new crap album and didn't care that the audience only wanted to hear what made him famous. So this is only the second time I can remember walking out. 

As I reflect  on last nights performance there were a number of contributing factors that all led up to the early exit. The audience wasn't into the show so there was no energy. Dallas didn't seem all that engaged and rarely conversed with the audience. Even the light show was odd; as someone said, it looked like something  leftover from a Prince concert and added nothing to the event. But in reality the biggest issue for me was just the sameness of it all. The songs were simply, long, loud and dreary as if we were at a cult meeting whose leader was counselling mass suicide. 

 In two words, I'd describe this show as soul sucking. 

Now if only Shakey had stayed on stage the outcome of the concert would  have been less grave. 

[warning-strangedog]

E=mc²: Especially when Florence Welch is On Stage

Now we all know that E=mc² is a version of Einstein’s famous relativity equation. Specifically, it means that energy is equal to mass multiplied by the speed of light squared. While seemingly simple, this equation has many profound implications, chief among them being that matter and energy are actually the same stuff.

But I’ve always had my own theory on what this equation really means. I think Einstein was a closet concert junkie and and loved live music.

You see, whenever I’m feeling tired or rundown I always find the best energy boost comes from live music. In other words I replenish my energy stores by going to concerts.

My formula is that energy equals music times concertgoers squared. It’s not really that complicated; music is literally full of energy and the receptiveness of the concertgoers is the multiplier. Take last night at the Molson Amphitheatre. Florence and the Machine came to play and what a show they put on.

The  set at the Molson Amphitheatre began as many concerts do, with dramatic introductory music, lights and smoke effects ramping up, and a large band waiting on stage for its lead singer’s grand entrance.

But then it became anything but routine as Welch, barefoot and dressed in a whimsical and fantastic flowing dress mounted the stage throwing flowers into an audience of what was already adoring fans. As she and the band moved through it’s set of sixteen songs opening with the hauntingly beautiful What the Water Gave Me it was obvious that Florence was in charge of the audience. She encouraged us to be her choir, to get high on the music and help others get high by literally lifting them up on our shoulders.

Like a whirling dervish she pirouetted, leaped, twirled and pranced across the stage and during Rabbit Heart (Raise it Up) she raced from the stage to the the back of the audience on the grass, singing all the way and with astonishing speed reappeared back on stage.

If the audience wasn’t already in the palm of her hand we were by the time she hit the fifth song of the set Delilah. The first notes of the electric piano rang out and a roar went up from the crowd. It was on and the energy was pulsating light a rain of lighting.

To state the obvious, the audience was enthralled and in love with Florence, the Machine and each other. She entreated us to love ourselves and love humanity. Her fan connection was so strong that when she asked everyone to put their phones away for How Big, How Blue, How Beautiful and “remember with our eyes and our ears and each other” we all did and she sounded so joyful that it worked. In fact, by the time she effortlessly got strangers to embrace in the pounding Dog Days Are Over, this felt like some kind of crazed family reunion.

Her encores of What Kind of Man and Drumming Song were epic with bass lines moving through your body, brass that was almost choral in nature and a kinetic energy that fuelled everyone’s dancing in the aisles, rows and on their seats.

It was a concert that could only be described as a triumph. Everyone be they band or fan left feeling elated. The music was epic, the show chock full of drama and joyfulness and the energy level was of solar proportions.

I no longer felt tired. My batteries were recharged. E does equal mc²

[warning-strangedog]

PEI Cheddar meets Scotland’s Best Campbeltown Whisky

Two of my favourite things in this world are cheese and whisky. In fact throw in some rustic bread or fine crackers and you’ve got lunch, supper, dinner and oh to hell with it, even breakfast if you want to start the day off really right. Today it was a late lunch and so for a little more spice I threw in some early season radishes.

Yesterday I was at the market, the St. Lawrence Market  at Chris’ Cheesmongers and picked up some Avonlea clothbound cheddar. Now this cheese has been well reviewed and it has won many awards including winning the Canadian Cheese Grand Prix in the Aged Cheddar (1-3 years) Category. But, it has not just taken Canada by storm; this cheese recently won super gold at the World Cheese awards at the BBC Good Food Show in Birmingham, U.K.!

Cheddar was originally made wheel-shaped and wrapped in cheesecloth and Armand Bernard (picture above)  of Cows Dairy is reviving this tradition, following in the style of great Orkney Island (North of Scotland) and English Cheddars. As all the milk in this unpasteurized cheese comes from small local farms around P.E.I. and given that no point on the island is ever more than 20 miles or so from the sea, with the salt air and the iron-rich red soil, all these things combine to add flavour and quality to the product. The aroma and flavour of this 14 month aged cheese is reminiscent of fresh boiled potatoes, with a grassy sweetness and tangy finish. It is firm in texture (harder than today’s style of cheddar) and has rich, full-bodied flavour. Also, don’t be surprised if you find the odd blue vein running throughout.

Now I know what you’re thinking…if it reminds me of Orkney surely to god I would pair it with Highland Park, that stalwart whisky of Orkney, and one of my all time favourite drams. But no, I was thinking this cheese needed something big, something gutsy and something with some spice. That’s why I went with the 18yr. old 2nd. edition Springbank Campbeltown Malt. I figured if it was an award wining cheese than put it up with the winner of 1 gold award in the 2012 and 2 gold awards in the 2014 World of Whiskies competitions.

I’ll start off by saying when I am right I am very right. This combo was perfection. The cheese stood up to the whisky and enhanced the flavours throughout. Springbank has a dusting of anise, chili, pepper and fruits.It’s also got a mustiness like damp basements and a smokiness like wet firewood. It’s long, salty and oily finish complemented the dryness of the cheese and the crackers and that taste of fruit peels brought out a sweetness in the cheese.

As I said perfect. In fact it’s so good that I’m going back for another glass and plan to ruin my dinner by finishing off the cheese.

Sometimes it’s good to be me. TTFN.

[warning-strangedog]

Charity Grows Your Heart

I’ve been involved in quite a number of charitable causes over the years. Recently it’s been causes such as United Way, Kid’s Help Phone, Right to Play and even my alma maters.

But this charitable bent didn’t start recently. I’ve always been involved in charitable giving. When I was 8 I got a paper route. It started with 28 houses and when I sold it I had nearly 130. But this post isn’t about entrepreneurial skills. It’s about helping others.

I always collected the money for the papers on Wednesday. I’d go door to door and at each customer I’d get the money they owed me. It seems so antiquated now. Knock on door, ask for the cash, punch a ticket that they were paid up, hopefully get a tip and repeat at the next door.

Well on that first Wednesday I collected my money and returned home. My dad helped me set up a ledger to keep track of the cash in, the cash out (to pay for my papers) and the remainder which was my profit. I’ll never forget $3.60. That was my profit. But as dad explained not quite.

He explained to me that I had a lot for which to be grateful. Loving parents, a house, food, friends and a lot of other nice things. But, there were lots of people that didn’t have it so good and sometimes, through no fault of their own, they needed some help. And the kicker was, it was our responsibility to help. So out of that first paycheque I set aside 36 cents in a separate jar.

Then each month we’d take that money and put it in my savings account. Once a year I’d take out most of the cash and donate it to a charity.

My charity of choice was the Salvation Army. I’m not sure I fully understood what they did but I loved the brass bands that would gather around the Christmas kettles and I felt good giving them my money to help others.

Those lessons have stuck with me throughout my life. I believe that we have a responsibility to help others and so I do. But it’s not a one way street.

You see, I get back more than I have ever given to charity. That knowledge that my work has helped people get back on their feet, escape from violence, feel loved and not alone or perhaps just have a meal has helped give me purpose. It’s given me a glow unlike almost any other act. It’s given me a heart that grows stronger with every gift.

So get involved. There are so many people who need our help. There are so many causes. If we all just do something the world could be a much better place and we’ll all have bigger hearts.