A career spanning twenty five years has brought this Canadian guitarist multiple accolades including a coveted Acoustic Guitar Magazine ‘Player’s Choice Silver Award’, eleven Juno Award nominations (he won for 2001’s ‘Free Fall’), a Gemini Award and, most impressively, ten platinum and gold studio albums.
Moreover, he has sold out concert halls the world over, produced five PBS television specials and five live CD’s. Not a bad legacy for a guy who never planned to release an album.
“If you had asked me at age 22, I would have said that I would never, never make music for the public,” Jesse Cook says with a laugh. “I would have told you that the public is much too fickle — they may love you one minute and forget you the next. Well, it turns out I did the thing I said I’d never do, and somehow it’s worked out.”
That’s an understatement. Since launching his career with 1995’s Tempest, Cook has blazed an incredible trail. Along with being a global-guitar virtuoso, he’s honed his skills as a composer, producer, arranger, performer and, more recently, filmmaker and cultural ambassador. Surprisingly, he started down many of those paths before he even started school.
As a child he was introduced to flamenco while spending summers at his father’s house in the Camargue region of southern France. John Cook’s neighbour happened to be Nico Reyes, guitarist for The Gypsy Kings. Meanwhile his mother, Heather Cook, with whom he lived, enrolled him in Toronto’s prestigious Eli Kassner Guitar Academy.
Cook’s musical education continued at the world renowned Royal Conservatory, Toronto’s York University and the esteemed Berklee College in Boston. He set his sights on a career as a composer. That was until an Ontario cable TV company aired his music on the listings channel.
“Their switchboard got flooded with calls,” he recalls. “People even got my number somehow and started phoning me at home and asking for a CD. And I was saying, ‘I don’t have a CD, I’m a background composer guy. I don’t make records.’ “
This proved to be a critical turning point leading Cook to self-produce Tempest at home using an eight-track recorder and one microphone. Then he delivered the initial run of 1,000 CDs from the plant to the distributor in his car. Those humble beginnings quickly sparked a mighty international career.
Canadian television appearances followed and so too did important gigs in the US. If he must point to one it was the 1995 Catalina Jazz Festival where his playing earned a 10-minute standing ovation, sparked mob scenes — “It was like being The Beatles,” he marvels — and prompted one store to order enough copies of Tempest to land it at No.14 in Billboard.
In Poland, his 2004 live album Montreal took the country by storm. In India, he gained fame after one of his songs was plagiarized for a major Bollywood movie. (“In India, that’s allowed,” he explains. “They call it cultural appropriation — it obviously doesn’t mean the same thing there.”) In Iraq, his instrumentals score the nightly news. Elsewhere, they’ve accompanied gymnastics and skating routines at the Olympics.
“In Torino, the Japanese skater and the Russian skater both competed using the same song (Mario Takes A Walk). One of them won. I think I should have got bronze,” he says laughing.
It’s no wonder Cook also jokes that his music “has had a way more interesting life” than he’s had. But lately, that international appeal — reflected in a compositional style that mixes flamenco with everything from classical and jazz to Zydeco, blues and Brazilian samba — has become something he takes more seriously.
“If music can come from around the world and interconnect so beautifully to create this beautiful tapestry, maybe there’s something that music can teach us.”
Over the course of his first twenty -five years making award winning music for a global audience Cook could be forgiven should he contemplate retiring or, as he puts it, ‘hanging out at my cottage dipping my toes in the water.” But the fact is he loves creating music. And, there’s also the matter of some unfinished business interrupted by the pandemic.
“Tempest 25’ the reissue of his debut album (released 25 years prior) had been amongst those pre-Covid plans. So too had been another world tour in support of its release. Cook, like most of us, found himself house bound due to travel restrictions.
“The first year with no touring since my career began. I needed a mountain to climb” Cook quips.
So, Cook got to work producing 23 (and counting) extraordinary solo YouTube videos of his favourite songs in which he played all the instruments, recorded, and filmed himself. The collection is called “Love in the Time of Covid” Not only have they pleased his existing fan base but this YouTube video collection has expanded his worldwide audience who are now craving that soon to be announced world tour.
Jesse Cook, clearly, has many more years of memorable performances ahead of him.
“Funky, cool and bad,” is how Robert Cray describes his latest album, That’s What I Heard, out February 28. “I thought if it we could get this thing that Sam Cooke used to have, the kind of sound that early Sam Cooke records had, that we could pull this off,” says producer Steve Jordan.
Over the past four decades, Cray has created a sound that rises from American roots, blues, soul and R&B, with five Grammy wins, 20 acclaimed studio albums and a bundle of live albums that punctuate the Blues Hall of Famer’s career. On That’s What I Heard, Robert celebrates the music of Curtis Mayfield, Bobby “Blue” Bland, The Sensational Nightingales and more, alongside four newly written songs. Listen to the first single “Anything You Want” here (by Robert Cray), available now on all streaming services.
Cray and Jordan go way back, having met during the making of the Chuck Berry documentary Hail! Hail! Rock ’n’ Roll, in 1987. They started working together in 1999, when Jordan produced the Grammy-winning Take Your Shoes Off, and the recent Grammy-nominated LP, Robert Cray & Hi Rhythm. That’s What I Heard is their sixth album. “Once you start working with Steve, it’s kind of hard to get away from him,” said Robert.
The music on That’s What I Heard falls into two camps, the sweet and the funky. Of the former, “You’re the One” comes from the Bobby “Blue” Bland songbook. “There’s this thing where I feel you kind of gotta get out of your own head when you’re covering one of your heroes,” Cray explained. “Bobby’s one of those. You just let yourself go, and do the song because you love it.”
Don Gardner’s “My Baby Likes to Boogaloo” and the Billy Sha-Rae minor hit, “Do It” are acknowledged rarities (the originals can be heard on the compilation, Groove & Grind: Rare Soul). “Do It” is leaner and meaner, the sort of bare-bones funk that defined the Detroit club sound in the early ’70s with Sha-Rae, Dennis Coffey, and Earl Van Dyke. Cray’s steamroller rendition gets a little extra push from guest guitarist Ray Parker, Jr., who played in Sha-Rae’s band as a teen.
“Burying Ground” is a sacred song from the Sensational Nightingales, inspired by Cray’s youth, when Sundays on the stereo were reserved for his parents’ gospel records. Curtis Mayfield wrote “You’ll Want Me Back” for Major Lance, and Cray wrote “To Be with You” for his late friend, Tony Joe White. “Hot” is another Cray original. “As for the lyrics, “We always say to ourselves, ‘I’m old, but I’m hot,’” he said, and laughed. Spotted hanging around the studio, Steve Perry sang harmony vocals on “Promises You Can’t Keep,” written by Steve Jordan, Kim Wilson and Danny Kortchmar.
“Robert is just a great person besides being extraordinary talent,” adds Jordan. “People gravitate to his guitar playing first, but I think he’s one of the best singers I’ve heard in my life. Not only because of his singing ability, but his interpretations. He’s such an honest soul in my opinion.”
Robert’s band features Richard Cousins (bass), Dover Weinberg (keyboards), Terence F. Clark (drums), and Steve Jordan (drums, percussion).
In 1988, Cowboy Junkies proved that there was an audience waiting for something quiet, beautiful and reflective. The Trinity Session was like a whisper that cut through the noise — and it was compelling. It stood out in the midst of the flash and bombast that came to define the late 80’s. The now classic recording combined folk, blues and rock in a way that had never been heard before and went on to sell more than a million copies.
Formed in Toronto in 1985 with siblings Michael Timmins on guitar, Margo Timmins on vocals, Peter Timmins on drums, and Michael’s lifelong friend Alan Anton on bass, the band has sparkled over the course of 26 albums. “I’ve known Alan longer than I’ve known Pete,” says Michael. “We were friends before Pete was born.”
Unlike most long-lasting groups, Cowboy Junkies have never had a break up or taken a sanity-saving hiatus. There’s an appreciation of each other that keeps them constantly working. “It’s that intimacy and understanding of what each one of us brings to the table,” says Michael.
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With five GRAMMYs, 14 Blues Foundation Awards, and a groundbreaking career spanning nearly 50 years under his belt, Keb’ Mo’s got nothing left to prove. Just don’t tell him that.
“I may be turning 70,” Keb’ reflects, “but I’m still breathing and I’m still hungry. I’m still out there going for it every single day.”
Born and raised in Compton, Keb’ began his remarkable journey at the age of 21, when he landed his first major gig playing with Jefferson Airplane violinist Papa John Creach. For the next 20 years, Keb’ would work primarily behind the scenes, establishing himself as a respected guitarist, songwriter, and arranger with a unique gift for linking the past and present in his evocative playing and singing. In 1994 he would introduce the world to Keb’ Mo’ with the release of his widely acclaimed self-titled debut. Critics were quick to take note of Keb’s modern, genre-bending take on old school sounds, and two years later, he garnered his first GRAMMY Award for Best Contemporary Blues Album with Just Like You. In the decades to come, Keb’ would take home four more GRAMMY Awards; top the Billboard Blues Chart seven times; perform everywhere from Carnegie Hall to The White House; collaborate with many including Taj Mahal, Willie Nelson, Bonnie Raitt, The Chicks, and Lyle Lovett; have compositions recorded and sampled by artists as diverse as B.B. King, Zac Brown, and BTS; release signature guitars with both Gibson and Martin; compose music for television series like Mike and Molly, Memphis Beat, B Positive, and Martha Stewart Living; and earn the Americana Music Association’s 2021 award for Lifetime Achievement in Performance.
In addition to his extraordinary musical output, Keb’ also established himself as a captivating onscreen presence over the years, appearing as himself in Martin Scorcese’s The Blues, Aaron Sorkin’s The West Wing, and even the iconic children’s series Sesame Street. He flexed his acting chops in a wide variety of projects, as well, portraying Robert Johnson in the 1998 documentary Can’t You Hear The Wind Howl, Howlin’ Wolf on CMT’s Sun Records, and the ghostly bluesman Possum in John Sayles’ 2007 film Honeydripper. A fixture on late night TV and award show stages, Keb’ has also performed on Letterman, Leno, Conan, Colbert, and Austin City Limits in addition to appearing on nationally televised broadcasts from The Kennedy Center, The Ryman Auditorium, and Eric Clapton’s Crossroads Festival.
A passionate philanthropist and outspoken activist, Keb’ has helped raise hundreds of thousands of dollars in support of social, environmental, and racial justice throughout his career. As a celebrity mentor with The Kennedy Center’s Turnaround Arts Program, which began under the guidance of First Lady Michelle Obama and the President’s Committee for the Arts and Humanities, Keb’ “adopted” The Johnson School for Excellence in Chicago, where he teamed up with teachers, students, and parents to help develop a thriving arts education program, and as a longtime ambassador for the Playing For Change Foundation, he’s supported the non-profit from its early days in its quest to provide free music education and basic needs like food, water, medicine, clothing, books, and school supplies to children around the world.
