Lloyd English & Sia Samimi
Dances of the Veils

Style: Jazz
Released: 2001
Produced by: Lloyd English
Recorded: Estania Audio Production, Edmonton, Alberta, & The Barn, Salt Spring Island

An eclectic mix of tunes called

"Flaperjalatin" Guitar Ensemble
menco PERsian JAzz LATIN

Sia Samimi  - Guitar
Lloyd English - Guitar
Buff Allen - Drums, Percussion
Ken Lister - Double Bass
Carolyn Knight - Vocals
Diana English - Vocals
Neda Yamach - Violin

Two talented guitar players have teamed up to create a unique and exciting blend of styles they call Flaperjalatin, a mixture of Flamenco, Persian, Jazz and Latin. Lloyd English and Sia Samimi met in Edmonton, Alberta, in late 1999 and spent the next year working on each other's compositions and writing new ones. The result is Dances of the Veils, a collection of eclectic, energetic and soulful tunes with international flavours. It was released in May 2001.

Lloyd English has played the guitar since he was a child. He studied at Vancouver City College and took private coaching in voice and guitar. To expand his horizons he moved to Toronto to study classical guitar with Eli Kassner, jazz with Tony Braden and Steve Brundage, and harmony and composition with Darwin Aitken. During the 80s he performed in several pop bands and toured extensively throughout western Canada and Washington.

He later moved with his family to Victoria, B.C., where he opened a teaching studio and worked as a freelance guitarist/vocalist. Several years later he and his family moved to Salt Spring Island, where he hosted a weekly jazz night for five years, directed a community choir, promoted concerts, played and studied.

Lloyd currently lives on Salt Spring Island, BC, and with his wife, Diana, commutes by ferry daily to manage their music store and lesson studios in Sidney, on Vancouver Island.  He also works as a freelance musician and producer.

When Sia Samimi was introduced to over 10,000 Edmonton Folk Music Festival fans in 1999, Cathy Ennis of CKUA radio called him "an astonishing master of the guitar. He amazes audiences with his unusual style -- influenced by Latin, jazz, classical and Persian roots". A signature of Sia's music is his use of the guitar as a percussion instrument. In 1998 Sia recorded his CD Dedications. The CD was nominated in the Best Instrumental Recording category at the 1999 Alberta ARIA awards, as well as in the Outstanding Instrumental Recording category at the 1999 Prairie Music Awards. Sia was invited to give 22 concerts at the 2000 World Expo Fair in Hanover, Germany, followed by several concerts in Hungary.

Recording of Dances of the Veils took place in early 2001 in Edmonton and at Randy Bachman's studio, The Barn, on Salt Spring. The guitar and violin tracks were recorded in Edmonton, and were then digitally transported to The Barn where Buff Allen and Ken Lister recorded the percussion and bass tracks. Vocal tracks were then added by Carolyn Knight and Diana English.

Lori Pappajohn
Celtic Harp Of Dreams

Poetic music inspired by first snow, friendships and loves that could have been, landscapes, ancient Greece and distant shores. "The water is wide, I can't cross o're, neither have I the wings to fly. Build me a boat to carry two and I will row, my love and I."

Musical Reflections CELTIC WHISPERS

From the pleasant lilt of the penny whistle to the peaceful beauty of the Celtic Harp, Will Millar (I believe he was of the Irish Rovers) takes you to the green hills of Ireland with these stirring melodies and Celtic Whispers. Songs are: Factory girls (Mo Mhuirnin Ban,By the Banks of the Bann, Factory Girls), Haunted Kenban (Blue Hills of Antrim, Lady McQuillians Lament, The Longships of Dunluce), Spirit of Place (The Banks of Claudy, Curragh of Kildare, Limerick is Beautiful, Spancial HIll), Lark in the Clear Aires (My Singing Bird), Carickfergus (Mary of Dungloe), Slieve Gallon Braes (Sally Gardens), The Irish Brigade - 1864 (Bold Fenian Men, Hills of Shiloh, Skibereen, Ashokan Farewell), The Women of Ireland (Rosheen Dubh, The Women of Ireland, Star of the County Down, Suzie Maguire). Gorgeous music, good quality. ENJOY

Paperboys , The Late As Usual

The Paperboys: Tom Landa -McAuliffe (vocals, guitars, bouzouki, mandolin, bodhran, accordion, piano, keyboards, percussion, backing throat); Moritz Behm (fiddle, mandolin, percussion, backing throat); Cam Salay (banjo, bass, backing throat); Neil Burnett (flute, penny whistles, celtic harp, accordion, percussion, backing throat); Paul Lawton (drums, percussion, Everton cheers)

Produced by Colin Nairne and Geoffrey Kelly
Engineers: Danny Greenspoon, Pete Wonsiak, John Webster.
Principally recorded at Mushroom and Hipposonics Studios, Vancouver, Canada.

Their debut album Late As Usual is an indie success story. Nominated for a 1996 Juno Award (the Canadian equivalent of a Grammy), the album was produced by Colin Nairne (Mae Moore, Barney Bentall) and Geoffrey Kelly (Spirit of the West) and features eleven original celtic- folk-pop tunes. Says one critic, "the songs are steeped in Celtic tradition, and that music’s fusion with rock has rarely been so skillfully executed." (The Ottawa Express). Late As Usual was a Top Ten indie seller on charts across Canada in 1995-96, and to date has sold upwards of 20,000 copies.

Paperboys , The Molinos

Release Date: Oct 21, 1997
Label: Stony Plain (Canada)
World Music
Molinos was produced by John Webster (Tom Cochrane, Pure, Rymes With Orange). A rock producer was an unlikely choice for a Celtic band, yet John’s pop sensibilities allowed for a seamless fusion of contemporary drum loops and electric guitars together with traditional instruments and original songs. Although the celtic flair dominates the album, influences from Spain (the album title is Spanish for windmills), Eastern Europe (Ray’s Ukrainian Wine Cellar Polka) and South Africa (Crashing Down, with guitarist Alpha Yaya Diallo making a guest appearance) can be heard throughout the fourteen songs.
"Boasting at least four potential radio hits, Molinos is a palatable yet challenging masterpiece... One of the best albums of the year." - Mike Devlin, Victoria Times Colonist
The Paperboys combine Celtic, Bluegrass, Ska, Eastern European, Soca, Folk and Pop music in a delicious Rootsy stew. Thier album Molinos won them a Juno award (Canadian Grammy) and garnered them rave reviews from critics and fans alike. England's prestigious FRoots magazine had this to say about the album Molinos.
"The most exuberant record I've heard in ages.....breathtaking"

Paul Verville

Style: Classical
Released: 1999
Producer: Dave Davies
Recorded: GSC Studios, Salt Spring Island
Label: GSC Records Inc.







Paul Verville is one of those special artists that you usually only read about - they practise for 8 to 10 hours a day, and they feel terrible if they miss even a single day. Paul's music reflects this dedication to his art, with flowing pieces from Chopin and Schubert, to tremendously complex renditions of Rachmaninov's work.

It helps to know that Rachmaninov had a hand spread of thirteen keys, and he wrote to suit his size. He was also a driven individual, and much of what he wrote embodies the turmoil that must have been a part of every one of his wakinng hours.

By contrast, Paul's spread is only nine keys, but his incredible speed and accuracy allows him to play even the most demanding of what Rachmaninov had to offer.

Puentes Brothers
'Morumba Cubana'

Alexis and Adonis Puentes grew up playing the earthy, rhythmically sophisticated Cuban dance music called son. With their rich and textured debut CD, Morumba Cubana (Alma Records) the Puentes Brothers extend the traditional form with a series of brilliantly arranged, passionate performances.

Non-identical twin brothers, Alexis and Adonis Puentes were born and lived most of their lives in Artemisa, a small time-worn 19th century colonial town, 60 km southwest of Havana. The boys’ father, Valentin Puentes is a noted guitarist who taught music at the rural town’s cultural center. Alexis began studying clave with his father at four years old, and before the year was out the child prodigy played the Cuban rhythm instrument with his father’s band on national television. At six years of age both Alexis and Adonis began guitar studies with their father.

The twin brothers lived and breathed music, often touring Cuba with a large guitar ensemble. Cuban music stars like Buena Vista Social Club vocalist Ibrahim Ferrer regularly visited the family home, often jamming with the young musicians. Adonis developed into a fine singer and Alexis fell in live with the bass. Playing together, they formed a traditional quintet under the direction of their father. For the first time, they began composing in the traditional son style. Not long after, Alexis won a Cuban national award for one of his compositions using the traditional son form.

In 1995, the family toured across Canada, recording a debut cassette called Los Puentes while visiting Vancouver. Returning to Cuba, Adonis starred in a nationally televised singing competition before joining a Cuban salsa band. Alexis toured Europe and recorded with Havana-based pop star, Augusto Enriquez and added funky, accomplished bass playing to his jazz-fusion band Temperamento’s CD, En El Comienzo, which was voted best Cuban jazz CD in 1999.

That year, Alexis rejoined his brother in Victoria and formed the popular Alexis Cuba Band. They garnered rave reviews for their original son at clubs and festivals throughout western Canada. With a recording contract from Toronto-based Alma Records, the twins renamed their band Puentes Brothers.

In April 2000 the Puentes Brothers entered the studio with veteran producer Peter Cardinali to record their debut CD, Morumba Cubana. While touring North America as a feature performer with the Buena Vista Social Club, Cubanismo! Stalwart and Cuban Star Javier Zalba called his friend Alexis to say hello – this led to Zalba contributing his talents to the recording. Meanwhile, Cardinali gathered a cast of studio professional, Canadian jazz star Jane Bunnett, members of the Toronto Symphony’s string section, and Cuban music luminaries like piano star Hilario Duran, percussion legend Horacio “El Negro” Hernandez (Santana, Sting, Bonnie Raitt, Tito Puente), and bata master Pancho Quinto to embellish the Puentes Brothers tradition-based, modern experiments with Cuban son.

Engineers Denis Tougas and Vic Florencia team-up with Cardianli to create a rich, sumptuous soundscape. Alexis demonstrates a fluid mastery and daring improvisation on guitar, bass, and tres, playing off of Adonis’ addictive bongo beats while both Puentes brothers contribute dynamic, passionate vocals and infectious, juicy rhythms on assorted percussion instruments. Grounded in the earthy primal groove of traditional Cuban dance music, Morumba Cubana is a heady, seductive, effervescent sound that brings Cuban son into the 21st century.

Rick Scott & Harry Wong The 5 Elements

Rick Scott and Harry Wong - THE 5 ELEMENTS - has been nominated for a Juno Award for Children's Album of the Year.
THE 5 ELEMENTS has already been honoured with 2004 Parents' Choice Approved and North American Parenting Publications (NAPPA) Gold Awards in the U.S. and is being excerpted in textbooks in Canada and Hong Kong.

Saburo and Friends
Sunshine Island

Saburo Murata plays and composes for Alto sax, Soprano Sax, Flute and

A Recent immigrant from Japan, Saburo studied composition and Sax at
Shyobi University in Tokyo. After years of playing in Jazz Clubs and
doing studio musician work in Japan he moved to Gabriola Island in 1996.

Since moving to Canada he has played with numerous bands including,
Bossa breeze, appearing with them in the victoria Latin Festival and
the Victoria Folk Fest.

His first Cd in Canada "Sunshine Island", features his own blend of
Latin Fusion originals and gives an indication of the versatility,
emotion and professionalism that makes Saburo a respected musician.

He's now working on his next Cd which will be released in Spring 2004
featuring World Beat originals with sounds from West Africa, First
Nations, Japan and so on.

Sheila Ryan
Down by the Glenside

For those who enjoy the soothing tunes of the harp and melodious Celtic ballads and songs, Sheila Ryan's third recording, Down by the Glenside will not disappoint. Ryan has a powerful and emotive voice, as well as being an accomplished harpist and songwriter. This collection of songs showcases Ryan's vocal talents, and includes a host of talented musicians who accompany her.

Ryan was born in Limerick, Ireland, and played with folk groups and a country band while in her teens, as well as touring with a variety show. She now makes her home in Victoria, British Columbia, in western Canada. On this recording, Ryan provides vocals and harp. She is accompanied by a number of musicians on mandolin, banjo, violin, cello, tin whistle, accordion, keyboard, guitar, bass and dobro, as well as percussion.

Ryan's background in country music can be found lurking beneath the surface in her compositions "Morian Seheoin" and "Stormy Seas." Both of these songs have a sort of country feel to them, in both Ryan's voice and the arrangement. This style suits Ryan well, and John Ellis provides pleasing harmonies in "Stormy Seas." Ryan's other composition on the album, "The Evening Bell" reminds me a little of "Amazing Grace." It has the same sweet, flowing sound and haunting tune which leaves a lasting impression on the listener.

Ryan's sweet, lilting voice definitely takes the spotlight on this album. One of my favorites is the title track, "Down by the Glenside," which is preceded by a poem, "Requiem for the Croppies," written by Seamus Heaney and narrated by Will Millar of the Irish Rovers. The poem is powerful and well-read, and provided an excellent introduction to the song. I particularly liked the vocals on this track -- they are crisp, clear and strong. "Glencoe," "Is Ar Eireann" and "Annie Laurie" are also well done, and has pleasant instrumental accompaniment as well.

Ryan shows herself to be quite versatile, including some different styles of music on the album. "Danny Farrell" is another song with hints of country in it, strengthened by the accompaniment of the banjo. "Hear the Wind Blow" is a soothing lullaby, which I found a little too long for my liking; but then again, lullabies are designed to put you to sleep, are they not? In "Johnny Be Fair," a strong ballad-like tune with a jig beat, Ryan's vocal projection is impressive, however, I felt the bodhran accompaniment to be a little lacking in tone.

Now, although Ryan has a quite wonderful voice, full of expression and power, I don't think that this is a recording that I will listen to very often -- although that's not due to any lack of talent on Ryan's part. Ryan's vocal ornamentation, although fairly typical of Irish Celtic music (and generally fairly difficult to accomplish) is just not to my taste; I prefer a crisp sound, without the added bits, and the same goes for instrumentation. Too many trills and fluctuations annoy me. A lack of tolerance on my part, I suppose.

Another reason is the tempo of the album. I get a little restless when subjected to too many slow songs. I need energy! And although Ryan projects a great deal of feeling and power throughout the album, the energy level that I crave is just not there. However, for the listener who prefers something gentle and relaxing, with remarkable vocals and complementary arrangements, this album will certainly not disappoint.

by Cheryl Turner