Lake Street's Free Yourself Up Drops May 4

Lake Street Dive's Free Yourself Up, due May 4, is, in many ways, the band's most intimate and collaborative record. The band worked as a tightly knit unit to craft its ten songs and self-produced the album in Nashville with engineer Dan Knobler. "Free Yourself Up is about empowering yourself, emboldening yourself," says the band, "no matter what's going wrong." Pre-order to get an exclusive print signed by the band and download the album track "Good Kisser" now.

TDJ News

Weaves Nominated for a JUNO

Earlier this month, Weaves was nominated for a JUNO for Alternative Album of the Year, for the second year in a row.

Shortlisted for the Polaris Music Prize in 2017, one of Canada’s most prestigious music awards, Weaves has had an impressive run since their debut just a few short years ago. From a collection of voice memos on an iPhone to establishing themselves as one of the most stridently individual acts to emerge from Toronto’s fertile and multifaceted DIY scene, Weaves has captivated audiences and critics alike.

TDJ News

COVID-19 Update

To our Festival patrons and visitors, public safety is of the utmost priority for the TD Toronto Jazz Festival. We will continue to monitor the evolving situation to determine the best steps for June. We take great pride in putting on a world-class Festival and will do everything we can to ensure that this year is no different. We are in constant communication with government officials, our partners, venues and musicians to ensure we can provide a safe festival this summer.

TDJ News

The Roots + Trombone Shorty & Orleans Avenue

Date: 
Sat Jun 27 7:00pm
Ticket Price: 
$49.50 - $125 includes hst (plus service charges)

Tickets on sale Friday March 13, 2020
Doors 6:00pm
All Ages
Reserved Seating

Formed in 1987, in Philadelphia, PA, the legendary Roots Crew, consists of Black Thought (MC), Ahmir “?uestlove” Thompson (drums), Kamal Gray (electronic keyboards), F. Knuckles (percussion), Captain Kirk Douglas (electronic guitar), Damon Bryson (sousaphone) and James Poyser (electronic keyboard). Having previously released twelve projects, The Roots have become one of the best known and most respected hip-hop acts in the business, winning four Grammys, including “Best R&B Album” for Wake Up!, “Best Traditional R&B Vocal Performance” for “Hang in There” (with John Legend) and “Best Group or Duo R&B Vocal Performance” for “Shine.” The ensemble was most recently nominated for “Best Rap Album” for the 2011 release of undun. This brings the band’s GRAMMY nomination count to twelve. Additionally, The Roots have also become the faces of Philly’s “Fourth of July Jam,” an annual concert held during the Fourth of July with the biggest names in music, and “The Roots Picnic,” a yearly star-studded mix of musicians, that has become a celebrated institution during awards season. Recently The Roots were named one of the greatest live bands around by Rolling Stone, became the official house band on The Tonight Show Starring Jimmy Fallon where they currently perform every Monday- Friday. The Roots celebrated the release of their 11th studio album ...and then you shoot your cousin in May 2014.

Trombone Shorty's new album opens with a dirge, but if you think the beloved bandleader, singer, songwriter and horn-blower born Troy Andrews came here to mourn, you got it all wrong. That bit
of beautiful New Orleans soul—"Laveau Dirge No. 1," named after one of the city's most famous voodoo queens—shows off our host's roots before Parking Lot Symphony branches out wildly,
wonderfully, funkily across 12 diverse cuts. True to its title, this album contains multitudes of sound—from brass band blare and deep-groove funk, to bluesy beauty and hip-hop/pop swagger—
and plenty of emotion all anchored, of course, by stellar playing and the idea that, even in the toughest of times, as Andrews says, "Music brings unity."

As for why it's taken Andrews so long to follow 2013's Raphael Saadiq-produced Say That to Say This, the man simply says, "I didn't realize so much time passed. Some artists don't work until they put a record out but I never stopped going." Truly. In the last four years, Andrews banked his fifth White House gig; backed Macklemore and Madonna at the Grammys; played on albums by She & Him, Zac Brown, Dierks Bentley, and Mark Ronson; opened tours for Daryl Hall & John Oates and Red Hot Chili Peppers; appeared in Foo Fighters' Sonic Highways documentary series; voiced the iconic sound of the adult characters in The Peanuts Movie; inherited the esteemed annual fest-closing set at the New Orleans Jazz & Heritage Festival in the tradition of Crescent City greats like the Neville Brothers and Professor Longhair; and released Trombone Shorty, a children's book about his life that was named a Caldecott Honor Book in 2016.

Adding to that legacy, his Blue Note Records debut Parking Lot Symphony finds Andrews teamed with Grammy-nominated producer Chris Seefried (Andra Day, Fitz and the Tantrums) and an unexpected array of cowriters and players including members of Edward Sharpe & The Magnetic Zeros, The Meters, Better Than Ezra, and Dumpstaphunk. Considering Andrews' relentless schedule, it's all the more surprising that this LP began with him in a room, all alone, back in New Orleans.

"I had two weeks at home so I went to the studio and set up the 'playground,'" he recalls. "I had everything in a circle: tuba, trombone, trumpet, keyboard, Fender Rhodes, Wurly, B3 organ, guitar,
bass, drums—and me buried in the middle." He recorded an album's worth of ideas and then, well, walked away for a year. Not because he was too busy, but because he wanted to hit the road and
see how the music changed on him. When Andrews came back with a full band, the songs came to life.

Take the album's two covers, a pair of NOLA deep cuts: there's "Here Comes the Girls," a 1970 Allen Toussaint song originally recorded by Ernie K-Doe that here (with Ivan Neville on piano) sounds bawdy and regal, like something from a current Bruno Mars album; and The Meters' lovesick "It Ain't No Use," which swirls a vintage R&B vibe with resonant choir vocals and upbeat guitar from The Meters' Leo Nocentelli himself to transport the listener to the center of the jumpingest jazz-soul concert hall that never was.

The story there is almost too good. The session band—guitarist Pete Murano, sax men Dan Oestreicher and BK Jackson, and drummer Joey Peebles with Dumpstaphunk's Tony Hall in for
Orleans Avenue bassist Mike Bass-Bailey—were in the studio to lay down "It Ain't No Use." Hall even had the vintage acoustic he bought from Nocentelli years ago, which was used on the original Meters
session. On the way to the bathroom, Andrews saw Nocentelli coming out of a different tracking room: it was meant to be.

But that's not unusual for a man raised in one of the Tremé's most musical families. Andrews got his name when he picked up his instrument at four ("My parents pushed me toward trombone because they didn't need another trumpet player," he laughs). By eight, he led his own band in parades, halls and even bars: "They'd have to lock the door so the police couldn't come in." Promoters would try to hand money to his older cousins, but they'd kindly redirect them to the boy. In histeens, Andrews played shows abroad with the Neville Brothers. Fresh out of high school (New Orleans Center for Creative Arts) he joined Lenny Kravitz' band.

Across that time, three Trombone Shorty albums and many collaborations since, Andrews nurtured a voracious appetite for all types of music—a phenomenon on fluid display with Parking Lot
Symphony. On "Familiar," co-written by Aloe Blacc, they practically mint a new genre (trap-funk?) while Andrews channels his inner R. Kelly to spit game at an old flame. Meanwhile, the instrumental
"Tripped Out Slim" (the nickname of a family friend who recently passed) bends echoes of the Pink Panther theme into something fit for James Brown to strut to. And if you listen closely to "Where It
At?," written with Better Than Ezra's Kevin Griffin, you may even hear a little Y2K pop. "I know it wasn't cool to listen to *NSYNC or Britney Spears in high school," says Andrews, "but those bass
lines and melodies are funky." They pair astonishingly well with all the Earth, Wind & Fire that bubbles beneath these songs.

It's worth noting that Andrews' vocals sound better than ever (he credits Seefried for that), because Parking Lot Symphony might be the man's most heartfelt offering yet. The breezy title track, which
Andrews wrote with Alex Ebert (Edward Sharpe & The Magnetic Zeros), is as much about walking the Tremé, being uplifted by the music that seems to seep from every surface, as it is about moving
on from a broken heart. And the shuffling, bluesy "No Good Time" reminds us, with a world-weary smile, that "nobody never learned nothin' from no good time."

But Andrews is clear that this isn't some kind of breakup record. "It's a life record," he says, "about prevailing no matter what type of roadblock is in front of you." That message is clearest on "Dirty
Water," where over an easy groove, Andrews adopts a soft falsetto to address just about anyone going through it—personal, political, whatever. "There's a lot of hope turning to doubt," he coos.
"I've got something to say to them / You don't know what you're talking about / When you believe in love, it all works out." Amen. Now let the horns play us out.

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Michael Kaeshammer

Date: 
Tue Jun 23 8:00pm
Ticket Price: 
$85, $60, $45 + service charge
Ticket Information: 
416-408-0208

Internationally acclaimed musician Michael Kaeshammer has toured the world showcasing his talents as a singer, songwriter, pianist & producer. A spellbinding artist, Kaeshammer’s performances and recordings are intimate and inviting affairs, whether in a small club, large theatre or on home stereo.

His new album, SOMETHING NEW, is a new musical adventure. Produced by Michael himself it features 10 original songs about love, life, travel and politics. Recorded at the historic Esplanade Studios in the heart of New Orleans’ Treme district, Kaeshammer along with Big Easy legends Cyril Neville (The Neville Brothers), George Porter Jr (The Meters), Johnny Vidacovich (Professor Longhair), Mike Dillon (Primus), the New Orleans Nightcrawlers Brass Band and Canadian bassist David Piltch (k.d. lang) create an eclectic sonic ride. Very special guests include Colin James, Randy Bachman, Curtis Salgado, Jim Byrnes, Amos Garrett and Chuck Leavall of The Rolling Stones.

It is easy to distinguish great music upon first listen, regardless of genre labels and titles. Kaeshammer’s passion for writing, performing and producing exceptional music is abundantly clear. Flavours of jazz, boogie-woogie and blues combined with passion and meticulous detail, Michael Kaeshammer is unafraid of crossing genre boundaries and uses his many influences to take the listener along on a memorable journey.