{"id":578,"date":"2006-01-01T17:26:36-05:00","date_gmt":"2006-01-01T22:26:36+00:00","guid":{"rendered":"http:\/\/peterjanes.ca\/blog\/2006\/01\/01\/best-of\/"},"modified":"2006-05-06T15:28:30-04:00","modified_gmt":"2006-05-06T20:28:30+00:00","slug":"best-of","status":"publish","type":"post","link":"https:\/\/peterjanes.ca\/blog\/2006\/01\/01\/best-of\/","title":{"rendered":"Best of"},"content":{"rendered":"
\r\n
Lenni Jabour and The Third Floor<\/a>, Les Dangereuses<\/cite><\/a><\/dt>\r\n
You all knew this was coming, so there’s no sense keeping it for the end of the list. Lenni et al’s new CD departs a bit from the sound of their more recent independent releases and live performances, evolving the music into something I can only describe as filmic<\/cite>. They’ve included more instrumental pieces than they’d play in concert—Rosa Dances In Her Kitchen<\/cite> in particular is wonderfully evocative—and added a range of new ideas, including vocal effects, that make Les Dangereuses<\/cite> a Third Floor experience unlike anything I’ve heard from them before. It’s exactly, but also not at all, what I expected. (Full disclosure: Lenni’s a dear friend, and I helped sponsor the CD.)<\/dd>\r\n
Angie Nussey<\/a>, Paint and Turpentine<\/cite><\/dt>\r\n
Angie’s got a unique vocal style that perfectly matches her personal lyrics: both are quirky yet often powerful. Paint<\/cite> is a great complement to her previous release, Circumstantial Overload<\/cite>. There’s a lot of great music on the disc, and I think Take Me Home<\/cite><\/a> distills it all better than I could hope to describe.<\/dd>\r\n
Kristin Sweetland<\/a>, Root, Heart and Crown<\/cite><\/dt>\r\n
OK, Kristin’s CD was actually released a couple of years ago, at which point I wrote (but then took back) some not-entirely-complimentary things<\/a> about it. I’ve gained a new appreciation for the disc—and for Ms Sweetland in general—since then, and she’s been a highlight of my listening and concertgoing in the past year.<\/dd>\r\n
The London Fringe Theatre Festival<\/a><\/dt>\r\n
‘Nuff said.<\/a><\/dd>\r\n
Stratford Festival<\/a>, The Tempest<\/cite><\/dt>\r\n
I had the honour of seeing William Hutt<\/a> on the last night of his final stage performance, playing Prospero in The Tempest<\/cite>. Are there any more fitting lines to close fifty years at the festival than these:
\r\nBut release me from my bands
\r\nWith the help of your good hands:
\r\nGentle breath of yours my sails
\r\nMust fill, or else my project fails,
\r\nWhich was to please….
\r\nAs you from crimes would pardoned be,
\r\nLet your indulgence set me free.<\/q><\/dd>\r\n
Harmony Trowbridge<\/a>, Amoraphobe<\/cite><\/dt>\r\n
An EP release in advance of her first full-length CD, Amoraphobe<\/cite> is a nice introduction to Harmony’s distinctive phrasing and phrases. I’m a sucker for clever imagery, and I find her lyrics—like woop!<\/em> go the v-birds<\/q>, from Nothing Runs Like a Deer<\/cite>—stick in my head for hours.<\/dd>\r\n<\/dl><\/div>
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