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7:30 pm

Hillsburn

February 7 @ 7:30 pm EST
Festival Place, 100 Festival Way
Sherwood Park, T8A 5T2 CA
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Hillsburn blends powerful songwriting, soaring three part harmonies and huge presence for an electric live show that draws on elements of folk, rock and popular music. After touring extensively in support of their award-winning debut In The Battle Years, the band released The Wilder Beyond in February 2018 and a deluxe version of the album in February 2019. Winner of a 2017 East Coast Music Award and 2016 Canadian Folk Music Award for "New/Emerging Artist of the Year", you won't want to miss this band that is already on its way to becoming a national treasure. Sale Dates and Times: Public Onsale : Thu, 11 Jul 2019 at 10:00 AM

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Qualico CAFE Series presents The Small Glories

February 7 @ 7:30 pm EST
Festival Place, 100 Festival Way
Sherwood Park, T8A 5T2 CA
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Qualico CAFE Series presents The Small Glories Roots powerhouse duo The Small Glories are Cara Luft & JD Edwards, a musical tour-de-force partnership planted on the Canadian Prairies. With a stage banter striking a unique balance between slapstick and sermon, these veteran singer-songwriters have a way of making time disappear, rooms shrink, and audiences feel as they are right there on the stage with the band - writing the songs, living the songs, performing the songs. Sale Dates and Times: Public Onsale : Thu, 11 Jul 2019 at 10:00 AM

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The Bros. Landreth

February 7 @ 7:30 pm EST
Arden Theatre, 5 St. Anne Street
Saint Albert, T8N 3Z9 CA
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Before they were the Bros. Landreth, Joey and Dave were only looking for a good excuse to spend a little more time together after dedicating their respective early years backing up other artists and touring the world as hired musicians. Originally released in their hometown of Winnipeg in 2013, their debut album, Let It Lie, was re-released in 2015 after signing a deal with Nashville-based Slate Creek Records. The album received widespread acclaim, won multiple awards including a Juno, and propelled the band to play over 400 tour dates around the world. While the band went on a hiatus, affording Joey the opportunity to debut a solo album in 2017, the duo never stopped writing songs that would eventually be recorded for their long-awaited follow-up release, 87-a nod to the real beginning of the band; the year they became brothers. THEBROSLANDRETH.COM Sale Dates and Times: Public Onsale : Mon, 12 Aug 2019 at 10:00 AM

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8:00 pm

Russell Malone

February 7 @ 8:00 pm - 10:30 pm EST
Hugh’s Room Live, 2261 Dundas St. W.
Toronto, Ontario

Friday, February 7, 2019 Russell Malone $65 Advance / $70 Door Doors: 6:00pm Performance: 8:00pm In the 1990’s a 12 year-old Emily Obviously, we are in the capable hands of a master. Absolutely fluid touch and beautiful integration between moving lines and harmonic cadences. The sound of the instrument is well balanced throughout the entire register. The relaxed quality of everything that’s being played gives it such a warm feeling. To play that stuff is extremely hard. This is an absolute master, the best of the best.” – Kurt Rosenwinkel, responding to Russell Malone’s solo performance of “Remind Me” Russell Malone is one of the signature guitar players of his generation. The leader of ten albums since 1992, Malone is as well-known on the international circuit for helming a world-class quartet and trio as he is for his long-standing participation in Ron Carter’s Golden Striker Trio, and his recent consequential contribution to the musical production of the likes of Sonny Rollins and Dianne Reeves, who recruited Malone for his singular tone, refined listening skills, limitless chops, and efflorescent imagination. In all these circumstances, Malone addresses the tradition on its own terms, refracting the vocabularies and syntax of such heroes as Charlie Christian, Chet Atkins, George Van Eps, Johnny Smith, Wes Montgomery, Grant Green, Kenny Burrell, Pat Martino, and George Benson into an argot entirely his own. A master of all tempos, a relentless swinger, he spins his stories — in idioms ranging from the urban and downhome blues, country, gospel, various corners of the American Songbook, and hardcore jazz—with a soulful, instantly recognizable instrumental voice, and seasons them with sophisticated harmonies that are never “too hip for the room.” “I take pride in being open enough to play with anybody,” says Malone, citing encounters with such diverse artists as B.B. King, Aretha Franklin, Gladys Knight, Andy Williams, James “Blood” Ulmer, and Ornette Coleman. “I love to swing, but I don’t look down my nose at other styles of music, or other musicians. I’ll play with anybody, if the music is good.” Born in 1963 in Albany, Georgia, where he was raised, Malone received his first guitar a green plastic four-string—at 4. He began playing in church at 6, and discovered jazz at 12, when he heard Benson perform on a PBS special with Benny Goodman, Teddy Wilson, Red Norvo, Milt Hinton, and Jo Jones. In short order, he purchased Benson’s Cookbook and Benson Burner, and Montgomery’s Smokin’ at the Half Note and Boss Guitar. “Those four records set me on a path that I have not deviated from,” Malone says. After high school, Malone left Albany for an extended engagement in Houston with organist Al Rylander, who had employed the talented youngster for almost a year in a local club. In 1985, he moved to Atlanta, where he built a reputation sidemanning with, among others, saxophonist-blues singer Eddie “Cleanhead” Vinson, Little Anthony, Peabo Bryson, O.C. Smith and Freddy Cole, and leading units at Walter Mitty’s, a local club where touring musicians jammed after gigs. Two of them, Branford Marsalis and the legendary pianist John Hicks, encouraged Malone to come to New York City. He first visited the Apple in 1985, and began to network with generational peers, sitting in on various bandstands, jamming late nights at the Blue Note, and attending Barry Harris’ Jazz Cultural Theater. From 1988 to 1990, Malone worked with Hammond B-3 icon Jimmy Smith, who “told me that he didn’t want me to play like my idols, gave me permission to speak with my own voice.” He garnered more visibility during a 1990-94 tenure with Harry Connick, who made it his practice to feature Malone’s singing and guitar playing at the start of his shows. In 1992, he signed with Connick’s label, Columbia, which released Russell Malone and Black Butterfly, on which Malone addressed the mix of genres-old-school and contemporary pop, original jazz, spirituals, and, of course, the blues—that continue to characterize his mature tonal personality. During a 1994-98 stint with Diana Krall, he performed on three of Krall’s CDs, appeared in the Robert Altman film Kansas City, participated in Roy Hargrove’s Latin Grammy-winning Crisol band, and recorded Wholly Cats (Larry Willis, piano; Rodney Whitaker, bass; Yoron Israel, drums) for Japan’s Venus label. In 1998 he led the first of three recordings for Verve, including a personal favorite, Heartstrings, on which string arrangements by Johnny Mandel, Dori Caymmi, and Alan Broadbent and an all-star rhythm section—pianist Kenny Barron, bassist Christian McBride, and drummer Jeff Watts—enfold a succession of blue flame guitar solos. Malone made five recordings with pianist Benny Green—three of them trios with McBride between 1997 and 2004. All the aforementioned were close to bass legend Ray Brown, who first recorded with Malone in 2000 on Some of My Best Friends Are… Guitarists, and employed him in a crackling trio with Monty Alexander until his death in 2002, a few weeks after they made Brown’s final, eponymously titled recording. In 2003, Brown’s heir to the bass throne, Ron Carter, who had known Malone since both performed in Kansas City, recruited him for The Golden Striker, a bass-guitar-piano date with the late pianist Mulgrew Miller. Malone continues to play on Carter’s projects, and recently has spent consequential time in Dianne Reeves’ two-guitar unit with Romero Lubambo. In 2004, Malone launched a still-ongoing relationship with MaxJazz with Playground, followed by Live at the Jazz Standard, Volumes 1 and 2, and the 2010 trio recital, Triple Play, with bassist David Wong and drummer Montez Coleman. Reviewing the latter, jazz journalist Doug Ramsey noted Malone’s “warmth, conversational phrasing and lack of hurry,” adding that, “in the absence of another chording instrument to collaborate or contend with, Malone is free to make harmonic choices without concern for clash or collision.” “There was a period where I wanted validation, felt I needed to do certain things in order to get people’s approval,” Malone says. “I lacked the confidence to speak with the voice that was in me. But at some […]

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