"Rock on the Lock" Pt. Dalhousie's season-ender
The location is a parkette with concrete slab seating facing a smallish stage and a backdrop of swaying sailboat masts moored in what is technically titled Old Lock One Commons. Nope, I'm not a local old-timer who knows all about the area's trivia... just a nosy reporter unafraid of asking the natives about stuff.
Last evening was the season finale of Port Dalhousie's free concert series, and in keeping with the above paragraph, I, being an ex-Eastern Quebecer, refer to 'Dalhowzie' instead of the more acceptable 'dalooozee'! An autumn harbinger, it was a bit chilly, but the audience warmth definitely repudiated one set of lyrics that claimed "The love is gone".
The show's initial act was bluesman DANNY BOY PHELAN, who introduced himself as promising no intention or desire to “set the world on fire.” Something a doo-wop group, circa WWII, also denied any such intent. Phelan exhibits amazingly clear diction, and his style is certainly understated. The blues style is formulaic and easily recognizable, but this performer raises the bar with his personal interpretations. In spite of such envelope-pushing, he evoked all those occasions when I would listen enthralled at Mississauga's South Side Shuffle and thrill to Downchild, who always appeared to be crowned “home king group.” Phelan displayed his instrumental smorgasbord by showcasing amazing virtuosity with the banjo, and especially his harmonica. The ' She also aced ' number should have been his finale, as I, and probably most attendees, had this piece reverberating long after he left the stage.
The follow up act was JULIET DUNN and her duo. This trio is impressive as her two sidemen are outstanding. DOUG MUNDY is a master on the keyboard. His improvisational riffs are either a manifestation of a closet composer or the instincts of an impeccable musician. He almost stole the limelight from the vocalist. 'Almost' being the key word. She's a delight. Vocally talented, she's also one of those people who can glean laughs with self-denigrating comments, without coming across as counterfeit. Bilingual to a fault, her French is impeccable, and I'm from Quebec!. She did a bang-on version of Edith Piaf's Les feuilles mortes (or to this Francophone - chute or tombe). Mortes means dead! She also aced "Girl from Ipanema" en español! Then, a request to “Bésame Mucho” (gladly, pretty lady, but I'm married)' . Not rounding out the trio was a bass... instead -TUBA JAY. Yep, the name depicts the instrument. As a last-minute stand-in, Jay was a treat, albeit a shocker. His instrument has an approximately two-octave range (F4 - F5) so, its not exactly like the usual backup electric or acoustic device one expects. Given Dunn's commentary, and Jay's abilities, this was a remarkable and memorable experience.
The closing act was BRANT PARKER and his band. Comprised of Parker on vocals, and (almost) starring saxophonist BILL HOLINATY plus bassist GARTH VOGAN. Filling out the quartet was a very familiar name: PETER GRIFFIN. But this is a Canadian drummer, not the cartoon voiced by Seth McFarlane, nor married to Lois, and especially not pater to 'Stewie'. Holinaty has a startling facility for faultless glissades that are punctuated with atonals as counterpoint. He's also comfortable with 8 to 12-bar jazz scales. Parker obviously is a fan of progressive jazz, which he embellishes with stylish up-tempo almost slurring the lyrics. A few of his song choices saluted the blues which he effectively interpreted. The voice is somewhat harsh, but certainly enjoyable. Regrettably, the hour was getting late and temperature had dropped so this 'O.F.' was weakening. I found myself having a problem following Parker's lyrics, but that was my bad; not his.
Tomorrow, a quintet of strings will parade through downtown St. Catharines while performing works by J.S. Bach. doting on classical music, I'm hoping to push my walker at least part way along the route while humming parts of partitas, lalala-ing oratorio excerpts etc, in other words- going for "baroque"!