Halloween dance party at the Tranzac Main Hall!
Monday 31 October
8pm
NO COVER!

After headlining a tour in Europe, opening for SAGA and Marillion, Sun Domingo will be playing live in Toronto at the Tranzac on December 9th 2011. This will be “Between the Sun and Moon” performance. Doing their latest album “Songs for End Times” and Pink Floyd’s “Dark Side of the Moon” in their entirety.

This is one of their last concerts in North America in 2011. Do not miss your chance to see this incredible band headlining live.

Tickets can be purchased at Rotate This, 801 Queen Street West or directly at Tranzac for $15.

For inquiries or questions, please email at:
annick@ludyeventmanagement.com or
andy@ludyeventmanagement.com

Visit Sun Domingo at:
https://www.facebook.com/sundomingo
http://www.sundomingo.com

Supported by HUNTER EVES (EMORIE)
https://www.facebook.com/EMORIEBAND

Wednesday 26 October, 7:30pm
PWYC
Read about Myke and the Mod Villains and listen to their music on Bandcamp here.

Tony Bird
Sunday, October 23, 2011
At The TRANZAC, 292 Brunswick Ave, Toronto
Tickets: $20.00 / $18.00 Flying Cloud and TRANZAC members
Door: 7:00 p.m.
Starts: 7:30 p.m.

“The finest, most impressive folk poet in years” -The Village Voice

With a mesmerizing intensity, a unique voice, vision, guitar style and persona, Malawi born songman Tony Bird is a complete original. Growing up in southern Africa in the era of colonialism and Apartheid, Bird developed a sharp, conscious universal eye. His expansive repertoire ranges from topical and historical commentary to love songs, musical tone poems and exotic travelogues and stories that roam from bushmen to bicycles. Tony Bird has been called “The Father of African Folk-Rock,” yet he is even more. He’s an inventive, passionate, theatrical performer who delivers the moving, searching anthems of a mature poet.

Bird had two early vinyl albums released on Columbia in the ’70s, “Tony Bird” and “Tony Bird of Paradise.” The latter garnered acclaim in a 1986 People Magazine critics’ poll as one of the top 10 albums of all time. “Sorry Africa,” his 1990 Philo/Rounder release, features fellow southern African musicians who have supported a line of African roots and world music stars from Hugh Masekela to Miriam Makeba and Harry Belafonte, as well as Paul Simon’s South African-influenced “Graceland.” Bird’s early releases pre-dated Simon’s by at least a decade and more.

Bird’s rich geographic and cultural background has spawned a music of diverse influences. Drawing from the southern African mbaqanga and kwela rhythms, Afrikaans boeremusiek and even calypso, along with western traditions of folk, blues, country and rock, his music is an original amalgamation of all these styles, which he loosely describes as “African Folk-Rock.” He creates the sound of a full band with his unique slapping, percussive guitar picking, a clicking mouth and an energetic stomping left foot. With a raw organic quality, his grainy voice breaks into growls, whispers and falsettos contrasted against sophisticated painterly lyrics.

A new CD is in the works which will feature the same “name” musicians, including one song with Ladysmith Black Mambazo, who became enamoured with Tony’s music when he toured with them in the ’80s. In the early ’90s, he also toured with South African stars, the late Simon Mahlathini and the Mahotella Queens. After a six year hiatus due to hand problems, Bird returned to performing and touring in 2003.

For more information on Tony Bird please visit www.mangotime.net.

Friday, October 7, 10 p.m. Southern Cross
PWYC
For Folkies Only

Folksongs of Canada Now: An Archive Release of New Field Recordings
collected by Henry Adam Svec, featuring a short lecture by musicologist and archivist Henry Adam Svec and performances from special guest Folk.

What is folk music? In 1954, Edith Fulton Fowke published “Folksongs of Canada”, the until-now, definitive collection of Canadian folk tunes.

Henry Adam Svec, one of Canada’s foremost musicologists, has updated Fowke’s seminal oeuvre for all you post-structural folkies. He does tend to ramble on a bit (hey it’s folk music – if you don’t spend 10 minutes explaining what your song is all about then you’re not doing your job) so, I’d recommend you come to the show after the lecture is over.

As far as the musical component of the evening shall unfold, Mr. Svec has assured us that it will be all a part of the contemporary folk process.

But let our expert speak for himself:

“I have listed the names of the performers I have documented. I have even attributed authorship of these songs to their respective singers. This will seem like an error to those who are familiar with the work of the late Staunton R. Livingston, who has made it obvious that music is an immanent plane of anonymous communion (see The CFL Sessions; The Lost Stompin’ Tom Songs). It is a sin, Livingston has taught us, to write about or to write upon music, and it is a sin to tie Music to an individual source.

I am not sure if Fowke would have been aware of Livingston’s methods, nor am I certain that she would have approved of my own contribution to the field of Canadian folklore. But I forgive her and acknowledge the role she has played in this project. In some ways, Folk Songs of Canada Now can be read as a synthesis of Staunton R. Livingston’s avant-garde methods with the traces of Edith Fulton Fowke’s journey across the territory of the Folk. Yet, faint traces can be just as vivid as broad, strong strokes, and I wish to privilege neither one of the two giants on whose shoulders I stand.”
Henry Adam Svec

Wow!