Tag: new-music

CD Review, Maggie’s Wake – Close to Home

by Richard Young

Reviewed by Ian Gifford

It’s December in Canada, and Mother Nature has already announced in no uncertain terms that she intends for this one to be a white Christmas. This also means the ubiquitous Christmas albums will be hitting shelves and streaming platforms with more of the same old carols that you’ve been hearing since you were a little kid, without much variation in the sound. London, Ontario’s Maggie’s Wake have made a statement of their own with the release of Close to Home, a seven-song holiday-themed EP, with three never-before-heard, original Christmas tunes.

Maggie’s Wake is a bit of a super group, (forgive me if you’ve read me saying that once or twice before), including two of Canada’s finest fiddle players in Tara Dunphy (The Rizdales and solo) and Lindsay Schindler (Rant Maggie Rant and Trent Severn) rounded out by the rhythm section of Andrew Kosty on upright bass and Kenneth Palmer on guitar. Kenneth was also the EP’s engineer/mixer with production by Tara and Lindsay.

(Pictured: Maggie’s Wake.)

The seven songs include a gorgeous cover of Gordon Lightfoot’s “Song For A Winter’s Night”, a handful of traditional/original Christmas/winter songs arranged for fiddles, guitar, and bass, as well as flute and tin whistle by Tara, plus three original Christmas songs written by Tara Dunphy. If you have not been exposed to the music of Maggie’s Wake thus far, you should know that these are four serious players! Their chemistry as a band is highly evident within the first notes of the warmly endearing “Ontario”. It’s a song that describes some of the best parts of being an Ontarian, like making snow angels and coming in to hot chocolate and maybe a “mini sticks” game in the basement or maybe a proper game of shinny when dad gets the frozen pond lit up.

“It’s dark before dinner but now we can play, I’m Wendell Clark and you’re Gilmour today!” – from “Ontario” by Tara Dunphy.

The beauty of Maggie’s Wake is their ability to jump around genres from traditional Celtic sounds to country, folk, and jazz. The latter is evident in the second Tara penned piece, “It ain’t Christmas without You” which sounds like it would be right at home on a Stéphane Grapelli album with its bouncy blend of Hot Club Jazz and Western swing vibes. The Line “they can deck the halls and trim the tree, but I’ll tell Santa when I’m on his knee, that it ain’t Christmas without you” is typical of the playful and clever lyricism that a veteran songwriter like Dunphy is capable of, as evident in the darkly romantic pieces she has written for her Honky Tonk band, The Rizdales.

(Pictured: The Rizdales. Photo by Paul Latorre.)

Interwoven throughout the EP are traditional song sets expertly arranged by Lindsay Schindler and the fellas, and they have that same sort of playful feel as opposed to old recordings of pieces like “God Rest Ye Merry Gentleman”, “The First Noel”, or “Oh Holy Night” that can often come off as staid and stuffy. The quality of the musicianship within this ensemble cannot be overstated! Two of the instrumental pieces were written by Lindsay Schindler, “Into the Shadows”

which is part of the “God Rest Ye…” set, and the beautiful title piece, “Close to Home”.

Listen to “Close to Home” https://youtu.be/yyd_1BDPbJ8?si=uEH5qOfY14wE4HtB

Rounding out the seven-song effort is another Tara Dunphy original, “Christmas is Coming (for you!)” which is probably one of the sweetest, yet cheerfully cynical new Christmas songs I’ve heard in many decades. It describes the stresses of the holiday season as being a holiday hyped by marketing execs and gives a nod to Christmas Music and decorations coming out before Hallowe’en has even passed. Like all the classic stories of the “bah humbug” attitudes of the protagonist, this song resolves into the realization that what it’s all really for is that moment when you get to step back and see that it was all about your love of family and friends and community.

Throughout the album, Tara sings naturally and almost effortlessly with a very controlled and clear voice. I’d hate to embarrass her by stating this, but she almost reminds me of Anne Murray in that she can take a song in any genre and make it her own, just from the distinctiveness of her voice. Don’t get me wrong on that; she sounds 100% like Tara Dunphy, and when blended with Lindsay’s rock-solid harmonies, this album has some of the finest singing this country has ever produced. There is a pretty good reason why they were bestowed with the Canadian Folk Music Award for Best New/Emerging artists in 2025.

This is my first real exposure to Maggie’s Wake, other than some YouTube videos and such that I have seen posted online. To say I am in awe of their talents is a huge understatement. Everything about this group and this release is very refreshing and somewhat wholesome, and is music you can share amongst friends and family, and also music that I hope reaches the ears of folks right across this vast country of ours. These pieces have what it takes to stand the test of time, so I encourage you to follow the links and check it out for yourself.

I have to give this 5 out of 5 snowflakes!

To learn more about Maggie’s Wake, visit https://www.maggieswake.com/

Follow Maggie’s Wake on Facebook https://www.facebook.com/maggieswake and Instagram https://www.instagram.com/maggieswake/

Please check out their Patreon-style page, where they are trying to raise funds for a trip to Ireland for the whole group, for a showcase in Belfast in the Spring of 2026. This is a chance for this hidden Canadian gem to gain exposure throughout the world!

https://buymeacoffee.com/maggieswake

Reviewed by Ian Gifford

Tango with London Symphonia and Payadora this Saturday, November 15th

by Richard Young

Previewed by Daina Janitis

(Pictured: Members of Payadora Tango Ensemble – Mark Camilleri, Drew Jurecka, Rebekah Wolkstein, Elbio Fernandez, and Joe Phillips.)

Is there a heaven? And if there is, may I put in a request to end up here for eternity – with Antonio Banderas giving me tango lessons: https://youtu.be/6lAKlYTQVKY?si=cr3HQPzb1PvaROj-

Tango did not begin in a sad dance studio in Brooklyn. Tango is a passionate, provocative music and dance style that began in the working-class bars and brothels of Buenos Aires and Montevideo in the late 1800s, emerging from a melting pot of African, European, and local influences. Born where desire and melancholy intertwined, tango quickly became infamous for its sensuality and daring social dynamics—people danced close, in smoky rooms where the music’s erotic undertones mirrored the pulse of the city’s nightlife. It swept into the salons of Paris and beyond, transforming from a sultry scandal to an international sensation, all while keeping traces of its rebellious origins. (All right, while I fan my fevered brow, I’ll admit I got this history through AI research)

Tango’s music is syncopated rhythms played on bandoneon, violin, piano, and double bass – sometimes with voice that punches even higher on the emotional gauge.

Tango was danced by immigrants, misfits, and the marginalized in port neighbourhoods. Its lyrics and notes embody carnal passion. Its performance scandalized polite society but, naturally, fascinated them as well.

Today, Tango Nuevo renews the music and the dance for its sensuality, nostalgia, and emotional storytelling. It blends high drama, cultural fusion, and the thrill of improvisation. Check out this instructional video on dancing Tango Nuevo: https://youtu.be/2mtoTyMns8o?si=ENxIAGDhyPUjduGd

Who are the members you’ll hear – and later meet- of Payadora? The brilliant musicians were drawn together in 2013 by their love of this unique music. And their ensemble’s name? A payador is a male improvising poet-musician in South America, particularly Argentina and Uruguay (the feminine form is Payadora). These musical vagabonds roam the countryside,  improvising verses, often accompanied by a guitar, to respond to rivals in a musical contest known as a contrapunto. 

So, at The Met (corner of Wellington and Dufferin), how will you be hearing and seeing?

Our beloved composer-in—residence, Scott Good, will conduct members of London Symphonia and the musical powerhouses of Payadora.

(Pictured: London Symphonia’s Composer-In-Residence, Scott Good.)

Rebekah Wolkstein is the founder and leader of Payadora. She holds a doctorate in Violin Performance from U of T, plays in a classical string quartet- and excels in klezmer/Yiddish swing!

(Pictured: Rebekah Wolkstein, founder and leader of Payadora. Photo by Peter Yuan.)

Joe Philips– our hometown boy who lives here and is principal bass of London Symphonia – was born in Toronto. He also plays classical guitar and has appeared with orchestras and musical artists too varied – and many – to mention. I’ll just pop in Joel Quarrington’s name and Shane Cook’s, and the TSO, and Le Violons de Roi.

(Pictured: Joe Phillips, principal bass of London Symphonia.)

Drew Jurecka, an impressive jazz and classical violinist, began as the record producer of Payadora’s albums. His gifts on viola, saxophone, clarinet, and mandolin have made him a valued addition to performances by Jeff Healey, Jesse Cook, Stewart MacLean, and Alex Pangman. He’s composed movie scores- and takes time to teach at Humber College, where he’s created the only jazz strings program in Canada.

Drew is also the group’s bandoneon player – what is that, you ask? According to a post from the Los Angeles Tango Academy, “The bandoneon is a large, rather complicated concertina originally developed in Germany for churches that could not afford organs.”

(Pictured: Drew Jurecka playing the bandoneon. Photo by Karen E. Reeves.)

This monster of reed instruments has no keyboard, so it’s not the accordion we all conspire to keep Uncle Heinrich from playing at Christmas. It’s got 71 buttons, 38 for the right hand and 33 for the left. The musician uses both hands to push and pull air through bellows.

And for Mark Camilleri, music is life. Mark’s entire professional life embraces music, and he has had a wonderfully varied career for over 35 years. As Marvin Hamlisch put it, “Mark Camilleri, or ‘Mr. Canada, as I call him, is a one-man does-it-all musical powerhouse, whether he’s conducting, playing keyboards, or arranging.”

Mark has conducted countless shows for Mirvish, worked with film directors, and performed from the Vatican to the Oprah Winfrey show. He’s shared the stage with Andrea Bocelli, Celine Dion, Annie Lennox, and Eric Clapton.

And the vocals!

Elbio Fernandez is apparently known as El pequeño gigante del tango” (the little giant of tango) – but I’m not judging. Born in Uruguay, he is now a Canadian who performs around the world.

(Pictured: Payadora vocalist, Elbio Fernandez. Photo by Peter Yuan.)

And this Saturday, at 7:30pm, you can dream of being young, lithe, sensual, and worthy of someone asking you to tango.
To quote Sherman Alexie, ”If you really want a woman to love you, then you have to dance. And if you don’t want to dance, then you’re going to have to work extra hard to make a woman love you forever, and you will always run the risk that she will leave you at any second for a man who knows how to tango.”

IF YOU GO:

WHAT: LONDON SYMPHONIA CONCERT
Payadora – The Soul of Tango
London Symphonia, Scott Good, conductor, Payadora Tango Ensemble.

WHEN: Saturday, November 15, 2025, at 7:30 pm. Doors open at 6:30pm                                   

WHERE: Metropolitan United Church, 468 Wellington St, London, ON.

SUBSCRIPTIONS & TICKETS: Ticket packages start at $155 for a 3-concert General Admission subscription and $212 for Reserved Seating, plus fees and HST. 5-concert packages are also available. Individual adult tickets range from $55 General Admission to $75 Reserved Seating, plus fees and HST. Family Flex packs and free student tickets are also available. In-person subscriptions and tickets can be purchased online now at londonsymphonia.ca. 

Subscriptions to all concerts, including the Family Concert, and individual concert rentals are available on London Symphonia’s Watch and Listen video on demand channel. 

Find out more at londonsymphonia.ca.

Follow London Symphonia on Facebook https://www.facebook.com/londonsymphonia

To learn more about Payadora, visit http://payadora.com/

Follow Payadora on Facebook https://www.facebook.com/payadora

Previewed by Daina Janitis

CD Review: Brent Jones – The Truth Window

by Richard Young

Reviewed by The Beat Magazine’s Ian Gifford

When I agreed to start doing reviews for The Beat Magazine, I knew that I wanted to review some new up-and-coming bands’ records in the future, but I also knew that some had been out for a while, and that I felt needed more attention. So, in the future, you can expect a mixed bag. All of the reviews will be local within a certain catchment, which basically means bands that you can expect to see live in London regularly.

As a musician and sound guy, most of these people are friends and colleagues of mine, so there will be some bias, but I am here to promote and not to tear down. When I wrote for ID magazine (Guelph) in the 1990s, I admit, I could be a scathing critic, but that is no longer part of my voice as a writer. My job is to make you aware of local music you may not have heard about yet and give you a reason to discover it for yourself. If you want to criticize after that, well, you’re on your own. The following review is for someone I consider a dear friend, if not a “brother from another mother”, Brent Jones, and his latest album, The Truth Window.

(Pictured: Brent Jones. Photo Credit Belinda J. Clements Photography)

Brent Jones is well-known in the London area as a singer-songwriter, session musician (piano), engineer, and producer. In recent years, he has transformed his family’s old barn into a unique multi-purpose venue that he shares with the community at large. Over this past year, he has been releasing and promoting his newest project, which has been touted as part 2 in an eventual trilogy of releases.

A conceptual six-song piece with a total run time of 36 minutes, The Truth Window contains themes of war, revolution, death, destruction, rebuilding, healing, and ultimately, the value of love. The recurring mentions of soldiers and battles are likely metaphorical references to the cycle of life itself, which would seem natural to the author, who spends a large part of his time on the family farm.

The lyrics throughout the album are cleverly disguised references to life experience and personal growth, throughout the good and bad times in our lives, as well as the idea that we never go through these “battles” truly alone. From the first song, “Turbulent Flow” which may describe family that grows and falls together through the seasons of our existence, to the very last strains that ask, “What if loving was the key to our survival?”, The Truth Window feels like the original revelation, down to the final resolution of a personal epiphany for the artist in question.

There are lines all over this record that read like ancient quotes from the greatest philosophers and theologians alike, for example, “The space of history will turn the lens a shade of rose” or “Don’t you know that the smell of victory is sweeter with a bloody nose?” both from “Good Soldier”. I have to wonder also if the title “Alms of Harvest” may be tied to the scriptures of Leviticus 19:9-10, which commands the leaving of the edges of your farmers’ fields to the poor and the travelers of the world and neighbouring communities (described in the texts as aliens or foreigners).

***

9 When you reap the harvest of your land, do not reap to the very edges of your field or gather the gleanings of your harvest. 10 Do not go over your vineyard a second time or pick up the grapes that have fallen. Leave them for the poor and the foreigner. I am the Lord your God.

***

The Truth Window almost feels, at times, like an autobiography for Brent. Here’s a man who has the privilege of watching the cycle of life on an annual, if not daily, basis. The song “October Surprise” feels like the most personal statement on the album when it says, “You better make it count, boy!”, as if Brent is reflecting on the gifts he’s been given and how he can give back to the universe. Just how has he given back? Well, he created Quiet Earth, which is the venue on the farm that hosts concerts and weddings, plus a wide variety of other community-minded events that give, in the songs’ refrain, “Voices to the voiceless, choices to the choiceless, [and] noises to the noiseless.”

Check out this clip about the new Rogers TV Live from Quiet Earth Series. https://www.facebook.com/share/v/17k9G6Sfyp/

We live at war with time, and it is not always about how we approach the battles as much as who we approach them with. I personally have a unique perspective on this, having been a past band member with Brent (Pete Denomme and the Cosmic Cowboys), as well as having been involved with production for shows at Quiet Earth. I’ve discovered that every single show always begins and ends with the same thing. Love.

By that I mean love of self, love of friends, love of family, love of music, love of life, but ultimately the love of community. The Truth Window encourages us to not just look out our windows at the world by itself, but also to see our own reflection as it blends in with the images we see in the passing seasons. It encourages us to not look at the barren fields in winter with a sense of mourning but with love.

The album was recorded partly in the UK at Peter Gabriel’s Real World Studios, which inspires awe and envy in most musicians I’ve ever told that to, as well as being recorded here in Canada at Brent’s home studio in Dorchester, Ontario. It was mixed and mastered by the award-winning engineer/producer Stuart Bruce (Loreena McKennitt and more) and features vocals by his life partner and collaborator, Jennifer Crook. Another notable contributor is popular Canadian singer/songwriter Emm Gryner, as well as a diverse cast of musicians from the London, Ontario area.

While this music has been publicly available for almost a year to the day of this writing, the actual vinyl LP was released this past summer (June 29th, 2025) with a theatrical and musical performance at Quiet Earth, directed by London’s John Pacheco with a four-person crew of regional actors.

Now this is where the bias comes in, I FREAKIN’ LOVE this album! From the moment Brent put the CD in my hands, I knew so much about the process to that point that I was convinced it would be a masterpiece, and in my mind, it is nothing short of that. It is never overbearing in its messaging or arrangements and production. There is enough air between the words and notes that allow you to experience your own emotions and never force feeds you on how to feel. When its last notes ring out, all I can feel is that which can never be overstated, an overwhelming sense of love.

Rating: 5 out of 5 Stars. Be sure to listen to it as a full album for full appreciation. It is a complete piece of art! Recommended if you like progressive pop like Peter Gabriel, Elbow, Tears for Fears, Kate Bush, and more.

Purchase The Truth Window here: https://quietearthca.bandcamp.com/album/the-truth-window

For more information about Quiet Earth, visit https://quietearth.ca/

Follow Brent Jones on Facebook https://www.facebook.com/thebrentjones

Reviewed by Ian Gifford.