{"id":737,"date":"2007-03-12T00:15:00-04:00","date_gmt":"2007-03-12T04:15:00+00:00","guid":{"rendered":"http:\/\/peterjanes.ca\/blog\/2007\/03\/12\/loreena-and-lenni\/"},"modified":"2007-03-13T01:56:48-04:00","modified_gmt":"2007-03-13T05:56:48+00:00","slug":"loreena-and-lenni","status":"publish","type":"post","link":"https:\/\/peterjanes.ca\/blog\/2007\/03\/12\/loreena-and-lenni\/","title":{"rendered":"Loreena and Lenni"},"content":{"rendered":"

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

The main similarity, strangely enough, is also a difference. Both Lenni’s and Loreena’s concerts are what I can best call immersive<\/cite>: 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<\/em>, all her friends came over to play.<\/p>\r\n\r\n

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<\/a>, primarily long-standing neighbours Rosalita Whyte, Drew Birston and Alex McMaster (for whom I must<\/em> write a post of her own, instead of always mentioning her in passing<\/a>). Loreena’s mainstays include percussionist Rick Lazar, guitarist Brian Hughes and avant-garde violinist Hugh Marsh<\/a> (who plays everything from Amazing Grace<\/cite> to Purple Haze<\/cite> to The Swan<\/cite>, and writes great tunes like Little Miss Big Kiss<\/cite> along the way; I’m a fan).<\/p><\/div>

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