Nick Moss: Never settled, always searching for the perfect sound
-ROCK AND ROLL WITH SOUL AND BLUES WITH A GROOVE - Featuring the amazing vocals of Michael Ledbetter, (Descendant of the Great Ledbelly) and the blazing inventive fretwork of guitar master Nick Moss.

-Nick Moss Band has done 3 dates with Gary Clark Jr. in the last year, played the World’s Largest Music Festival (Summerfest), and the previous cd was voted one of the TOP 50 ALBUMS OF 2014 by the editors at GUITAR WORLD MAGAZINE!! http://www.guitarworld.com/guitar-worlds-50-best-albums-2014#slide-2

Quotes:
“Merging diverse influences—vintage soul to classic rock, psychedelia to jazz fusion—Moss offers plenty of space for his five-piece to create fresh-sounding compositions.” - Relix

“A high-water mark for the Chicago-based band... the album's 14 tracks will have you tapping your feet along and dropping your jaw at Moss’ many blistering guitar solos.” - Scott Bernstein/Jambase 

“Nick Moss’ guitar work speaks in volumes; from soft and moving to scorching and ferocious, he runs the absolute gamut of a blues legend in complete control of his style, form and virtuosity. As relevant as any other master of his craft, Moss proves to be an exceptional force…” Grateful Web

There's always been something rambunctious about Nick Moss. While other artists settle into a genre, Nick has always been about discovering new sonic territory, new textures and new musical frontiers. His recording career spans decades and his albums are staples at blues radio worldwide, and are now in rotation at stations with jam and rock formats. All this would leave most artists satisfied to stick with a niche. However, Nick's pursuit of sound comes from a restless, innovative and constant search for music that evokes a physical and emotional response. It's not just chords and progressions and songs that make up Nick's music mentality, but his desire to elevate an audience; to evoke a feeling of euphoric energy between performer and listener; to capture sound as well as sensation.

Nick's formative years were lived to the tunes of Led Zeppelin, Gladys Knight, The OJ's, Sly and the Family Stone, The Ohio Players, James Brown, The Allman Brothers, ZZ Top, Free and Black Oak Arkansas. “Music was everywhere when I was growing up,” he remembers. “My mom and dad loved music and it was always playing in the house. Music was piped in at the pool we went to in the summer. The joys of my young life were going to the record store and flipping through vinyl.” Nick laughs, “I actually carried a cassette in my pocket so if I was at a friend's house and they had something new, I could make a copy. There was nothing quite like popping that cassette into a deck and hearing something I'd never heard before.” 

It's Nick's childlike enthusiasm for all kinds of music- backed by the guitar, vocal and songwriting chops to take on any style that is downright contagious and has contributed to his recognition as an artist not defined by blues boundaries. “A lot of my blues fans like what I'm doing with my non-straight blues,” he explains. In 2011, Moss released Here I Am, which debuted at an impressive #2 on the Relix/jambands.com radio chart.

Moss' 2014 release Time Ain't Free “reaches deeper into soul, funk, and rock 'n' roll....” said Billboard Magazine. 

“I think authentic music, real music, is about experimenting,” says Nick. “I love what I do but I don't want to do it the same way every performance or on every recording.” It's Nick's insistence that he and his band expand territories instead of settling in or settling down to one style. 

Whether its blistering blues or Allman influenced rock or an apt social commentary set to brilliant music, Nick Moss continues to meld influences and reach into the unknown and experiment with the sounds he finds. And for Nick, it's not all about his own musical journey. It's always his desire from his place onstage, to pass along the passion and love of his craft to those who come to see him play. “It's about the experience,” he says. “A shared love of music and being elevated and enlightened by sound.” 
Contact: Stewart Entertainment, LLC – Brad@StewartEntertainment.net 

"When I'm playing live in front of an audience, I'm having my own moment on stage," confesses 16 time Blues Award nominee and band leader, Nick Moss. "I'm listening to the band, but not intently. When I heard the recording of our set from The Baltic Blues Festival in Germany, I was really proud of the musicianship; proud of the way these guys know how to play together. It was a unique opportunity to enjoy the instrumentation and arrangements of the songs. People come up to me at the end of a performance and when they complement me, that's fine. But when they're excited about my band, that is something of which I am unabashedly unashamed and proud! These guys individually are bad ass but it's the chemistry between them live that is downright stunning." 

For the past two years, fans of The Nick Moss Band have been asking for a live recording of the current lineup with Michael Ledbetter. "When we listened to the live recording after a little mixing and mastering, it was apparent to us that we had to release a live record this year. We're also working on a studio recording, From the Root to the Fruit, an intense double disk blues chronicle, for 2016.
Live and Luscious features extended versions of a few tunes from The Root to The Fruit, and an extended version of Shade Tree. Moss' stirring tune about the Ferguson tragedy. There's an almost Allmanesque feel to Shade Tree, and the extended version gives the tune much deserved breathing room. The recording also features Michael Ledbetter's tunes, "Standby" and "Catch Me I'm Falling".  "I've been watching Michael mature as a songwriter, and it's been quite a pleasure," says Moss. There are also extended versions of "Time Ain't Free, a jam oriented original, and "Breakdown" a new spirited rock and roll piece that will be featured on From the Root to the Fruit.

"The live recording made me think about how much I love traditional blues, but how much I also love to add soul, rock, jazz, and Latin influences into the mix," says Moss. "This creative mindset came specifically from listening to Peter Greene era Fleetwood Mac. The live recording also made me aware of the essence of what we're doing on stage. "When I'm in the moment, I don't have the same audio perspective as the audience. Live and Luscious really makes a connection between what's happening onstage and what the audience is hearing." says Moss. 

Live and Luscious is set to release on Friday October 30th on Blue Bella Records.  It includes 67 minutes of LIVE music from the 2015 Baltic Blues Festival in Eutin, Germany and was recorded on Thursday May 14, 2015.

Born in Derby, Central England in 1967, he had a conventionally musical childhood, where both parents were musicians and with involvement in music at school, discovering modernism in music, Mahler, Bartok, Berg and Tangerine Dream from friends in early adolescence. Parting unceremoniously from school he moved to a local college to study ...music, deepening obsessive interests in modernism in music, Art and Architecture. Here he developed the early phase of what would occupy him for the next 20 years - the style of minimal line Drawing of Form and shape abstracted to Geometric Figures that came to be called Elementalism, becoming a branch of OP Art. After a Dangerous brush with Cancer in his early 20's and Reading Philosophy and Music at Warwick in his late 20's he held Major Solo exhibitions in London and Berlin, and has Large commissioned works in Liverpool Met. Cathedral, and in Oxford and Derby Universities, he retired from Art for the love of music aged 39. Music had followed his life as percussion, from folk bands to Solo work. He gave two recitals at the University of Derby in 2005 and 6. A man in the audience [2006] offered him recording Facilities and so came his first and second albums, being solo percussion albums under the then stage name 'Perpetuum Mobile' to distinguish it from the Art. In short order he set up his own studio facilities, His 'Drum Studio' and began recording in earnest. Percussion first, with the two PM albums becoming 7 'Drum music' or Dm Albums including his 'Five Sonatas' [Dm 2], and his 'First inventions for Djembe' [Dm 6] These works starting to employ multiple tracking and Electronics, 'Skyside full of echoes' [Dm3] even becoming 'Concert pieces' in a studied understanding of contemporary music. A number of albums featured sets of Solo Percussion 'inventions' for various instruments, consciously modelled on Bach's notions of instrumental invention, in 'the maximum from the least means', drawing out Techniques, textures and sonorities from all manner of Drums. Developing also studio techniques and electronics which would lead him far beyond percussion, with an upgrade to the new Isobel Studio. There followed an explosion of Creativity, he says: "It's like I had 40 years of pent up music inside me" - resulting in his spending the next four years continuously recording, at his studio and others. Drum music, Dm, was the first of his so called 'Tranches,' or 'Sections,' of separate musical research, that separated very rapidly out of the white heat of the earliest recordings, with equipment being set up recorded and mastered in quick succession, "it would be in the can before it could be even named", the only thing which preserved an order was the recording Catalogue number Rh X, for rhythm, later just 'Rh,' analogous to his 'Cw' notation for Art works; the last of which in the high 800's was just months before. So, it became necessary to organise his thoughts, into five working areas." Thus in the first of several root and branch reconsiderations, the notion of the Five Tranches was sealed, incorporating the Rh catalogue nos. as a bed rock chronology across all the Areas. These five ‘Areas of interest’/ research,’ Tranches’ or ‘Sections’ are, firstly, 'Drum music', Dm; and, secondly, another species of percussion, this time on metal, metal sonority and harmonics, with tuned and untuned metal objects and instruments, giving 'Metal Percussion music,' or MPm. With the first 7 albums Named as Dm 1 - 7, the 3 albums collecting the early pieces he calls the 'Metal shop', after setting up the studio in a dedicated area to make a lot of noise in deep in the nights, albums 8, 9 and 10 became MPm 1 - 3. And so the pattern emerged, compositing the next five albums, to encompass the works made thus far in his 3rd area of interest or Tranche. Music created by tape loops, set against one another to systematically create complexity and resolution in phasing effects, hence 'Phase music' or Phm. Thus albums 11 - 15 are called Phm 1 - 5. A music type for stringed instruments, with percussion and electronics, al la Klaus Schulze's 'X' [ten] and 'Trancefer 'was beginning to emerge, which, though still in its infancy , would be the push towards a recognisably Classical music and become an important strand in his music. Thus those proto Classical works were collected in albums 16, 17 and 18 as 'Music for Strings, Electronics and Percussion', or MSEP 1 - 3. The Last Tranche was a music that had travelled so far from its instrumental or environmental source, that it could be said to be 'Electronic music.' Thus last 8 albums in the organisation that set the these categories in Stone, gave albums 19 - 26 the subtitles of Electronic music or Em 1 - 8. From then on each new 'Album, that is 'CD length collection,' would take a designation after its content, to its tranche, and the next sequential number, in an irregular distribution over 120 or so albums. This last placement number, by album release not section is named after the record company founded to publish all this, DCM or 'Drowningcircle music' hence DCM number - itself named after his publishing Company founded with the Art in the 1990's 'Drowningcircle Contemporary fine Art’ or DCA, and yet Itself named after the small Artist's collective he founded in 1986 'The Drowning.' This Complex is the core of his working life, but surrounding this is an equally rich, if not richer layer of Collaborations with some very interesting people. The first of these, almost from the beginning of the music, was Jim Tetlow whom he met at an Electronic performance in Leicester in 2007, so beginning a long association with a group of musicians collectively known as 'The Leicester underground.' That first meeting became a shared stage, and an association to this Day as the Contemporary Duo 'Tetlow and Broadhurst,' producing some seminal work, over to date 14 albums. A couple of years after he met Jim Tetlow another figure came on the scene, the Cellist David Dhonau, with whom he formed D'juil - exploring in great depth aspects of the contemporary cello over, to date, 17 Albums, many of them doubles, and some of the most important music he would write. Lastly in his Leicester phase a short series of works with the Leicester based Polish Flautist Vocalist Ola Szmidt [and David Dhonau], as ‘OLArJ’ [pronounced ‘O lar ja’] and’ OLAU’ [‘O Lau’]. Their Double disc 'Cord of life' was played in full on American Classical music radio 'What’s next' - as were two works of D'juil. Falling a little out of sorts with Leicester, and restless for wider horizons he met the German wind specialist Markus Wenninger and through him Croatian Composer Jurica Jelic and Formed between them JJM, with one album, the double 'Breeze'. This short lived project separated into 'Wenninger Broadhurst,' a very important collaboration, with to date 7 albums, and the short lived, 2 album collaboration 'Anjelic,’ with Jurica Jelic and Berlin Sound Artist Marcus Beuter. Then another important international duo, ‘Konnyek’ formed under the umbrella of JJM [now as a publishing collective], with the Serbian Composer Pianist Marina Vesic, with five albums to date. Also, he formed collaborations with Leicester Vocalist Flautist Maureen Anderson, as 'Anderson Morning [2 Albums]; and With the English Percussionist Walt Shaw as 'Lords of the Dance. He has always felt his musical life could be expanded by working with others, and that his ‘Collaborative music’, his so called ‘Sixth Tranche’, Cm, was a life's work in itself.

The Aristocracy of Music, Art and Life Philosophy. 

Let Them Eat Cake are a three piece rock band from Melbourne, Australia. We come from equally similar musical backgrounds, as we do not. 

Vocalist and bass player Jenn grew attended Rock'n'Roll Highschool as a teenager, and loves Riot Grrrl bands, noise, doom, punk rock and a selection of metal. She also loves the Japanese culture and has visited the country several times. Jenn is a massive fan of Kim Salmon and all his collectives and aliases, Roland S. Howard, Sonic Youth, Hole and Bikini Kill. 

Guitar player and part-time vocalist Thomas initially began taking drums lessons in his early teenage years. He played in a few short-lived bands before permanently moving back to the city where he focused on his guitar playing. He continues his love of the Smashing Pumpkins and still very often listens to the root of his musical talents, in particular local and Australian bands who toured about Melbourne in the 1990's. He is now a qualified and experienced sound engineer. 

Sven is no doubt a fine, lovely guy. He is a high school teacher, and has two young boys with his wife, Cat. Sven musical interests include hardcore rock - bands like Helmet and The Marc Of Cain and other hard and punk-rock bands such as Fugazi, Iggy Pop and Black Sabbath. He play with a very dynamic style, not so much as if he has a leaning toward jazz, for example, but his playing is riddled with accents to assist the guitar and vocal melodies. He's a strong drummer, an honest team player and he is an outrageously nice guy. By the way, he totally loves playing video games as often as possible; he'll take on anybody in more RPG games!. 

Collectively, we love love love Magic Dirt. Raw vocals, emotive and aggressive lyrics, powerful drums, tremendous bass playing and righteous guitars. Our childhood heroes. Massive sounds, and their respect and love of nature. Vale Dean, looking forward to the next releases from MD members' other projects.  

Equipped with a 95$ computer and Jack shit in my pocket, one fine day I decided to become an internet scavenger and collect as much free stuff I could find online. Free domain, creative commons, royalty free, you name it I collect it then recycle it. All the free samples, no DJ/Producer/Mixer/Musician/Juggler worthy of a name, would dare put their reputations on the line by using it. That's my scrapyard and go to workshop. 
Armed with a master plan to disguise the fact that I have no musical abilities what soever, I decided to make an album. 

Now the only way to pull this one off, is by creating my own style and genre. Now the genre is IDN (ignorant dance noise), and the style is DEAFTRONICA, because I'm not a composer, but a decomposer, all my pieces are decomposed in total deafness. I pick samples randomly and then cut/paste on a song editor (Audacity, my poor computer can't handle much more than that) and a vast amount of free VST effects (too backwoods to figure out how to use the VST Synths), which apply in complete abandon without having a fucking clue what they do. When I am tired of drawing geometric soundscapes while I am listening to decent music, comes the painful part, in which I have to listen to it to remix the finished masterpiece. Take as much shit out as I can to make it sound less horrid. If it's just about bearable, it's a club classic, if it's fucking dreadful, it's Nouvelle Vague/Avant Garde/Belle Epoque/Be bop a lula/Kiss my ass/Techno/Free Jazz, and if you're not into it yet, go fuck yourself, you're not worthy of kissing my hand. 

At first listen, it becomes quite apparent I didn't spent much time polishing my mixes for this album, which is in fact absolutely true, my entire life, creativity and me always had a fickle relationship. But what's also true is, even if I had spent more time, effort and above all listen to while I was making it, wouldn't make any fucking difference. 


What people are saying about this album 


"DEAFTRONICA is painfully pleasurable; Like root canal with no anesthetic and a blowjob simultaneously" Buzbebop 

"You have to be a complete fucking idiot to be a fan of my music" Buzbebop 

"I dare anyone to remix one of my tracks, and make crap sound good" Buzbebop 

"If ISIS hears my music, the'll send me an application form" Buzbebop
credits
released April 13, 2016 

Buzbebop

Aldo Ramirez  was born in a working class ghetto on the outskirts of Mexico City, the result of two calamities- a man’s home carried away by the flooding of a river in a small town the railway had in turn created then forgotten and a candle factory overwhelmed by the industrial revolution sweeping Mexico and bringing with it illumination of a different kind.  Both tragedies led to the same city and the eventual union of a man and woman that would one day be parents of a child they would name Aldo.     

Spanning the distance between a life in the shadows of a hillside covered by shanty towns, Salsa echoing out of every doorway to a life in the shadows of the perpetually humming Japanese corporate machine, Aldo Ramirez has followed a twisting path of his own.  

“Dub is the cornerstone”, says Aldo “it’s the origin and foundation simultaneously of all variations of electronic music, DJing and remixing.”  

At age 13 his cousin, a self-trained tattoo artist and one of the pioneers of the art in Mexico, played Bauhaus’ version of Ziggy Stardust and Aldo’s understanding of music was changed forever.  

“It was a moment of light.  No longer the radio noise or the inevitable low quality coming out of the television” he explains, “I realized that music went far beyond. From that day I spent the next rambling years devouring all kinds of music; New Wave, Punk, Trip-Hop and IDM.  I passed through Philip Glass and Herbie Hancock, Break beat and Drum & Bass. I discovered an entire universe of music. I found music for music’s sake, to be heard and not to sell sodas or beer or any of the nonsense they flash you with on MTV accompanied by girls in bikinis and luxury sports cars” he continues, “Not the music that breeds the uneasy dissatisfaction of not being a billionaire and winning Grammys on the red carpet”.

Self-taught by necessity Aldo learned to read and speak English by translating equipment manuals for gear he ordered from England and the United States, even taking a trip to Japan to seek out equipment that was not available in Mexico at the time.  

“I remember the nightmare it was trying to understand how to program Midi on a Korg SQD1 in a different language”.
He describes learning as a required addiction to maintain an edge in a technological world that seems to be changing at an unimaginable rate a few decades ago.  

“I decided not to use my money or time going to school.  Instead I bought the equipment and learned to use it myself.  Anyway the industry is moving so quickly, every month several updates are released and some new piece of gear or software emerges and I end up wanting to learn how to integrate it into my setup, in my own way. The way I see it technology is only the tool, it’s more important not to loose contact with the human element.  To remember that it is the human mind and body controlling the machine not the other way around”.

“It may seem like it’s easier to “make music” but the truth is that I think sometimes it’s actually more difficult.  With so much access to new gadgets people become fragmented and lose their ability to develop true soulfulness. It is so easy to be affected by the proximity of external distractions and they forget their own voice.  It’s clear to see this when you consider the frightening similarity between popular and emerging artists”.

What interests me is the seduction of silence, the space between the air, note and frequency. I always start a piece of music with silence, not with sound. From there comes my capacity for abstraction, for music as a fine art phenomenon, a sonic surrealism, a texture and pulse”.

After a few years of performing live music, heavily influenced by the Bad Seeds, Leonard Cohen and Tom Waits, he began experimenting with electronic music.  Typically producing Drum & Bass or Trip-Hop tracks with fellow Mexico City musician Tenochtitlan Sound System.  

The two performed tracks, saved to floppy disks or zip drives, in seedy bars and underground clubs in the city’s infamous central district. Over the next decade his D.j style transformed into what could be called “Outernational” a mixture of Brazilian, Afro, Latin, Dub, Funk and Jazz.

Leaving Mexico City for Tokyo in 2009, he began working as an engineer and producer at one of the underground scene’s most cherished independent music studios helping to build their recording facilities and mastering the first tracks to be released by the studio professionally. Aldo has also collaborated with various Japanese musicians ranging from Dub Step to Crossover Jazz artists and worked on remixes for Root Soul and Baba Maal.

“Living in Tokyo has sculpted my sound in ways I never could have planned. When I came here my sound was more Down-Tempo and Jazz.  I didn’t anticipate how living amid corporate skyscrapers, sterilized systems of mechanized comfort and economic “progress” would change me.  Living in Tokyo has surprisingly led me closer to Dub than ever. Now I sit down to produce music to combat the coldness and isolation of the city, to challenge what most call progress to discard the status quo and in doing so I have found Dub as Punk, as revolution, as evolution”.

Aldo Ramírez is a music producer, audio engineer, remixer and D.j currently living and working with Loud Cloud Studios in Tokyo, Japan.  




One Day One Night Career SY 2009

I'll be posting all of my  Unreleased Band Covers
recorded from 2009 - 2015

Use

Rode NTK for Audio Recording

Vocals by Mikz
Drums played by Ken
Silent Guitar played by Josh
Bass played by Tyson


Post Production Editing by Mikz
Audacity
Sound Forge
FL Studio 12



Bloom Effect ver 6.01 (c) 2009-2010

* Overview
Bloom Effect is a PitchEQ and a Voice Morphing plugin that works as a VST effect.
You need to use BloomFX.dll with your VST compatible host application.
ex) Cubase, Sonar,...
Bloom Effect can mix two independent transposed outputs of pitch-corrector
and bypassed output.
Ver 1.20: Formant Shift/Preserv function is added.

* How to Install & Use
Just place BloomFX.dll to your plugins directory.
Insert BloomFX to audio track (Note that the audio track should be 'stereo' if
you want to use panning).
Root the MIDI signals to BloomFX if you want to use the 'TuneTo MIDI' function.

* Params

Scale Buttons 'C'to'B'
 Specify the 'Allowed' note. 
 Also the Scale-Setting menu is available that will set Scale buttons as a whole.

Speed
 Tuning Speed. Maybe shifted if set to '100=MAX'.

Amount
 Vocal range amount. Best range when set to 100.
 
Calib
 Master tuning 430Hz to 450Hz. the default is 440Hz

TuneTo
 MIDI  -- Enable Tuning to Midi notes. TuneTo MIDI function has two modes.
   Mono  -- MIDI notes are monophonic. Last MIDI note is effective. Octave is NOT ignored.
   Chord -- Multiple allowable notes can be specified by MIDI notes. Octave is ignored.
 Scale -- Enable Tuning to specified scales by scale buttons
*If enabled both, the MIDI note is prior. but scale tuning is effective after notes are offed.
*If not enabled both, the output pitch is follow to the input pitch, but be tweaked by transpose
  and formant parameters.

Bypass - Level - Pan
 Bypassed output of source sounds.

Tone1 - Level - Pan - Transpose - Fine - Shift - Presv
 Pitch-corrector output.
 Level:     output level
 Pan:       output pan (Note that the audio track should be stereo)
 Transpose: transpose output pitch
 Fine:      fine tuning of the output pitch
 Shift:     formant shift.
 Presv:     formant shift mode. On:  formant is preserved. independent to the pitch correction.
                                     formant shift is still effective in this mode.
                                Off: formant is changed depend to output pitch.

Tone2 - Level - Pan - Transpose - Fine - Shift - Presv
 One more Pitch-corrector output same as Tone1.

MasterVol
 Master volume.



Anne Lindsay has established herself as one of the most engaging and versatile instrumentalists in Canada, adapting her unique violin/fiddle style to the eclectic sounds and musical languages of this country’s rich cultural texture.

She is an exuberant fireplug of a session-player- to-the-stars (Led Zeppelin, The Chieftains, Blue Rodeo, James Taylor, Roger Daltry) whose skills have graced many a stage around the world. Anne has played on hundreds of recordings and is a featured performer with the Jim Cuddy Band, The Skydiggers and John McDermott. She was the resident fiddler for the Toronto Maple Leafs and the stage production of The Lord of the Rings. She has also built a formidable career on her own as a musician,
composer and vocalist — all showcased brilliantly on her new album, Soloworks.

Anne has already released three award winning CDs of her own and has won numerous awards including: Solo Instrumentalist and Producer of the Year (Canadian Folk Music Awards), Jazz Violinist of the Year (National Jazz Awards) and the K.M. Hunter Award (Ontario Arts Council).

Her new CD, SOLOWORKS is a departure. It consists of 13 solo compositions that Anne performs alone, on violin, voice, piano and nyckelharpa. From toe-tapping fiddle tunes masterfully played and lyrical ballads with Anne's heart-catching vocals SOLOWORKS is a major artistic accomplishment, and a personal triumph. In her own words:

“Music takes me far and wide, from north of the Arctic Circle to the Cape of Good Hope, through India, Europe, Central America and back and forth across Canada, this amazingly big, beautiful country of ours.

Along the way these tunes were born - thirteen pieces to be played by one player. SOLOWORKS is the offspring of my journeys, self discovery and the comfort found in being alone, that being solo works.”

Anne began her musical studies at the age of five, specializing in violin, piano and voice. A graduate of York University, Toronto (BFA Special Honors Music), the Royal Conservatory of Music, Toronto and the Banff Centre, Alberta. Her fluency is evident in her wide-ranging repertoire, encompassing jazz, rock, classical, country, old-time fiddle, Celtic, Cajun, and Klezmer styles, and the recent addition of two new Scandinavian fiddles - the Finnish jouhikko and the Swedish nyckelharpa.

In addition to teaching at the Celtic College in Goderich Ontario and the Haliburton Winter Folk Camp she has traveled to Rankin Inlet in the Canadian Arctic to teach music to Inuit youth, hosted Canadian fiddle
workshops in Finland and volunteered at the Majengo Children’s Home in Tanzania.

Her debut CD, EAVESDROPPING  received generous airplay nationwide on CBC and campus radio stations. Anne’s original compositions combine a warm roots feel with sophisticated rhythmic and harmonic sensibilities. Audiences across the country have been delighted by Anne’s innovative music, drawn from a palette of heartfelt ballads, hot club jazz, South Indian Karnatak, various root and folk styles and rocking fiddle driven grooves.

Her sophomore CD,  NEWS FROM UP THE STREET was co-produced by Oliver Schroer and brings all of her skill into fine focus on the 14 powerful tracks, featuring her wonderful band: Colleen Allen-saxophones, Al Cross–drums, Jason Fowler–guitar and David Woodhead–bass. What really sets it apart from the first CD is the addition of Anne’s vocals, and her debut as a songwriter.

HURRY ON HOME continues the legacy — featuring Anne’s virtuoso playing and heartfelt vocals with a who’s-who of the Canadian contemporary music scene performing Anne’s twisty fiddle tunes, some sultry jazz, soulful gypsy and a hip hop beat! The CD is co-produced by Anne and her son, Tosh Weyman, a talented hip-hop artist and producer. The resulting album bridges both genres and generations with brilliant performances by musical friends. The title track “Hurry On Home”, is a neo-Appalachian duet with Jim Cuddy; “Valentine”, a poignant song about Valentine’s Day as a springboard into solitude; and the folktronic “May Our Minds Meet”.

Anne’s playing is incomparably expressive, capturing the violin’s unique ability to sing like the human voice. With her innovative, yet down to earth compositions, and exquisite lyrics, Anne and her violin sing together in a universal language.

Mildred Kyle is following