Drumming Up Success with The Sadies
If you’re a drummer, unless your name is Peart or Bruford or Mullen, you probably don’t do a heap of press interviews. Everybody wants to talk to the frontman (or woman), which in the case of Toronto’s The Sadies would be guitarists/vocalists Dallas and Travis Good. Bassist Sean Dean wasn’t able to join us yesterday so I had a nice tête-à-tête with Sadies drummer Mike Belitsky, left, a man whose been watching the Toronto music scene evolve since he first landed in town in the late 1980s, a runaway from Halifax determined to make it as a rock ‘n’ roller.
“I remember going to the Cameron House,” says Belitsky, “and seeing Glenn Milchem (Blue Rodeo) drum for the Garbagemen and thinking, ‘Oh man, I gotta go back to the drawing board.’ I wasn’t going to be some punk in a band just because I had a leather jacket; that’s when I knew I’d actually have to learn how to play my instrument.”
Belitsky has learned plenty about drumming in the dozen years since joining The Sadies. Over the course of seven studio albums, one live set and numerous collaborations with artists like Jon Langford, Andre Williams, Neko Case and Jon Spencer, The Sadies have gained a reputation as musician’s musicians, a rep that’s flattering and yes, a little daunting, admits Belitsky.
“Sometimes, if I’m on stage and I know there are really good players in the audience it can throw me a bit if I let it. I have to force myself to stop thinking about it. That’s why I play, to just lose myself in the music.”
Belitsky and company will be getting lost on Toronto Island Saturday opening for Montreal’s Arcade Fire, presently the No. 1 rock act in the world: “We were flattered when they asked us,” says Belitsky.
Korngold A Summer Music Success
Toronto’s Art of Time Ensemble led by pianist Andrew Burashko (with, from left, Stephen Sitarski, Erika Raum and Winona Zelenka) delivered an impassioned performance of Korngold’s Suite for Piano, Two Violins and Cello at last night’s Source & Inspiration concert (part of the Toronto Summer Music Festival) at the MacMillan Theatre. After beautifully rendering the suite, the ensemble came back to accompany pop songwriters Danny Michel, John Southworth and Martin Tielli, each of whom had been invited to compose two songs using the Korngold as a catalyst. The resulting compositions surprised and charmed the audience with their inventive reinterpretations, giving tangible shape to the notion of inspiration.
Photo by Peter Alberti
Grossmann’s Summer Swan Song
To describe conductor/educator Agnes Grossmann as a formidable presence is almost an understatement; the moment you step into her orbit you are swept up by her intense energy. Serious, forthright but not without a sense of humour, the Artistic Director of Toronto Summer Music has dedicated herself to putting this month-long academy and festival on the cultural map.
“Ontario has never had a summer music program like this,” she acknowledges. “Alberta has Banff, Quebec has Orford, but there was nothing like this in Ontario when we started five years ago. Initially, we wondered, are the people going to come? Are they going to stay in their cottages?”
Grossmann quickly discovered that she wasn’t just competing for the attentions of local music lovers; if she wanted to really establish Summer Music she would have to compete for the favours of international talents who can pick and choose which festivals they take part in.
The maestra has obviously done an excellent job. Beginning July 20 and running through August 14, Toronto Summer Music will host performances and master classes by superstar baritone Matthias Goerne with pianist Andreas Haefliger, Anton Kuerti, Menahem Pressler, Andre Leplante and Connie Shih, Pacifica String Quartet, Vienna Piano Trio, Andrew Burashko and the Art of Time Ensemble, and many, many more.
In the Eye of the NXNE Storm
My history with NXNE co-founder and programmer Yvonne Matsell goes back more than 20 years and my respect for her is boundless. The music industry has a notoriously high burn-out rate but Matsell is hardcore: “Live music is my true passion,” she says in her charming Welsh accent. “I love to see it performed and I love to see bands grow.”
You’d be hard pressed to find a local act of any stature that hasn’t been aided and abetted in some way by Matsell. A Toronto club booker since the late 1980s at Albert’s Hall, Ultrasound, Reverb/Holy Joe’s, Ted’s Wrecking Yard and now the El Mocambo, she’s given a leg up to Broken Social Scene, Metric, Sum 41, Billy Talent, Ron Sexsmith, Barenaked Ladies, Tea Party and Lowest of the Low, to name just a handful.
Sixteen years ago, NOW’s Michael Hollett tagged Matsell to help launch a northern equivalent of Austin’s South By Southwest music fest. Like the Texas town’s famous 6th Street, which is lined with live music clubs, Toronto’s Queen Street West is perfect for a club crawl of regal proportions.
“Toronto is made for this kind of festival,” says Matsell. “We’ve grown well beyond Queen Street to include Spadina and College and the far end of Queen West, and it’s good to see that people are willing to travel a bit.”
Casting Critical To Lee’s First Feature
The North by Northeast Music Festival and Conference (June 14 – 20) isn’t just about rocking out; the program boasts impressive film and interactive (sold out!) components. Today, Toronto-based actor, TV and radio host, Sook-Yin Lee, left, blogs about some of the challenges of directing her first feature film.
Hi, I’m Sook-Yin Lee. My first feature movie — I wrote and directed, Year of the Carnivore — is an offbeat romantic comedy about a girl in love with a boy who thinks she’s bad in bed so she goes out into the world to get better at it. It’s an inverted love story about fallible people making big mistakes on their funny and heartbreaking mission to find love.
Now the thing is, the romantic comedy is one of the hardest genres for a filmmaker to tackle. Often the big studio solution for success is to cast superstars, the Jennifer Annistons and Ryan Reynolds of the world, but these days, even that’s no guarantee of a good flick.
Year of the Carnivore is a small independent Canadian picture, so when it came to casting, the key for me was to find actors with good chemistry, who you root for despite the obstacles they face. If your leads have no chemistry, chances are your romantic comedy will miss the mark.
