Loreena and Lenni

I realized this evening, while watching Loreena McKennitt‘s Nights from the Alhambra, that despite their vastly different musical styles, there are certain elements that she and Lenni Jabour have in common which make them my two favourite musicians.

The main similarity, strangely enough, is also a difference. Both Lenni’s and Loreena’s concerts are what I can best call immersive: their performances are very dramatic, reflective of their backgrounds in the theatre, and all-consuming, from the first note to the last harmonic. Loreena’s has a sense of scale and history befitting her (neo-)traditional music and multi-layered orchestration; Lenni’s, on the other hand, is intimate and charming, as if she’d invited you into her third-floor apartment for tea one afternoon and oh look, all her friends came over to play.

Loreena and Lenni also surround themselves with some of the most talented performers to be found, and both artists have a core group with whom they share a sense of loyalty. Lenni’s got The Third Floor, primarily long-standing neighbours Rosalita Whyte, Drew Birston and Alex McMaster (for whom I must write a post of her own, instead of always mentioning her in passing). Loreena’s mainstays include percussionist Rick Lazar, guitarist Brian Hughes and avant-garde violinist Hugh Marsh (who plays everything from Amazing Grace to Purple Haze to The Swan, and writes great tunes like Little Miss Big Kiss along the way; I’m a fan).