Jazz clubs and crowded bar rooms. The A.W. Cardinal Band has a sound largely influenced by old jazz swing, blues, Folk and ragtime. Influenced by such artists as Lonnie Johnson, Eddie Lang, Blind Willie Mctell, Skip James, Memphis Minnie, Muddy waters and Django Reinhardt. Which can be heard on A.W. Cardinal's latest album 'Stainless Steel Heart'
GRAYOWL POINT
reviewed by Michael Thomas
The 20s and 30s were a very different time for music. It was a time where many a blues legend made it big, from Robert Johnson to Blind Lemon Jefferson. The era of the blues had its heyday, and it’s always had its odd revivalist every now and then. Montreal singer-songwriter A.W. Cardinal and his backing band show that Canadians can do the blues just as well.
What makes the A.W. Cardinal band a little different is the fact that it’s a band. Blues players in the 20s struck it solo, with just their guitars. While Cardinal has some help, it doesn’t make his music any less legitimate. His guitar-playing is very reminiscent of those booming blues times, and it’s refreshing for once to hear guitar playing that is intentionally rough-sounding.
Cardinal even embraces the ethic of song lengths of back then, with most songs on this very quick album sitting between two and three minutes long. That being said, the songs feel complete.
Cardinal’s guitar-playing is naturally front-and-centre, and it helps to establish mood, such as calm and breezy in “Hangin’ At the Bottom” or slightly more melancholy like in “Sin City.” His voice also helps to carry each song.
But again, the album isn’t all about Cardinal. The backup instruments aren’t always immediately apparent on first listen, but certainly notable. Jasmine Ohlhauser provides both bass and some great backup vocals, while Christopher Donnelly brings in some welcome piano and organ, most notably in the slightly spooky song “Driftin’.” Ryan Lundy also keeps the beat with some faint percussion.
To hear the apex of Cardinal’s guitar-playing, check out either “Moon Gone Down” or “December Rain.” The album ends nicely with “Shading Tree,” which showcases better than any other song Cardinal’s pleasant singing voice.
There really isn’t anybody doing what A.W. Cardinal is doing right now. Check out the album on Bandcamp, and it’s a name-your-price download to boot.
Top Tracks: “Driftin’”; “Shading Tree”
Rating: Proud Hoot (Really Good)
The 20s and 30s were a very different time for music. It was a time where many a blues legend made it big, from Robert Johnson to Blind Lemon Jefferson. The era of the blues had its heyday, and it’s always had its odd revivalist every now and then. Montreal singer-songwriter A.W. Cardinal and his backing band show that Canadians can do the blues just as well.
What makes the A.W. Cardinal band a little different is the fact that it’s a band. Blues players in the 20s struck it solo, with just their guitars. While Cardinal has some help, it doesn’t make his music any less legitimate. His guitar-playing is very reminiscent of those booming blues times, and it’s refreshing for once to hear guitar playing that is intentionally rough-sounding.
Cardinal even embraces the ethic of song lengths of back then, with most songs on this very quick album sitting between two and three minutes long. That being said, the songs feel complete.
Cardinal’s guitar-playing is naturally front-and-centre, and it helps to establish mood, such as calm and breezy in “Hangin’ At the Bottom” or slightly more melancholy like in “Sin City.” His voice also helps to carry each song.
But again, the album isn’t all about Cardinal. The backup instruments aren’t always immediately apparent on first listen, but certainly notable. Jasmine Ohlhauser provides both bass and some great backup vocals, while Christopher Donnelly brings in some welcome piano and organ, most notably in the slightly spooky song “Driftin’.” Ryan Lundy also keeps the beat with some faint percussion.
To hear the apex of Cardinal’s guitar-playing, check out either “Moon Gone Down” or “December Rain.” The album ends nicely with “Shading Tree,” which showcases better than any other song Cardinal’s pleasant singing voice.
There really isn’t anybody doing what A.W. Cardinal is doing right now. Check out the album on Bandcamp, and it’s a name-your-price download to boot.
Top Tracks: “Driftin’”; “Shading Tree”
Rating: Proud Hoot (Really Good)
MORE THAN A SHOW
By . Jesse Peters
An ad in the View Weekly read “Blues Gypsy Swing Jazz Music” got me thinking about A.W Cardinal. What does a Blues Gypsy Swing Jazz band sound like? Later that night I gave their new album, Stainless Steel Heart, a listen on Soundcloud. A.W Cardinal Band is just what they promised to be in the ad. The notes picked from their instruments dare you to move with the air particles they've manipulated. Two of my favorites, Fester and Flume and Sin City, are songs that know they hold secrets, beckon you to come closer, to tilt your head and listen to the seductive mysteries of misery.
Last Wednesday night at The Black Dog, A.W.Cardinal Band looked as though they were playing in their living room. The band, encased by the hand rails and cushion seating that surrounded the stage, played alongside other rustic stage props, a tall orange shaded lamp sitting upon a table as well as an old brief case that held their homemade CDs, made the place feel more like a jam space than a bar.
Between the sound of Alex Wesley Cardinal’s story teller vocals that match the beckoning sound of his guitar and Jasmine Collete, a slim and classy looking woman who seems to be one with her bass, I would have never guessed that the pair had lost the third member earlier in the tour.
JesseDee, a local guitarist, stood in as their third. He was warmly welcomed by Alex who thanked him by saying, ‘there’s no better person to play who just learned the songs a few hours ago than JesseDee.’I bought myself a copy of the new album and found the band to be friendly and approachable. When I asked about their missing guitarist Alex expressed that it’s disheartening to be missing their third. He ‘values the connection [he] can make with members of the band while they play on sage.’ That connection, he believes, turns watching a show into an experience. This was evident throughout their second set as I noticed Alex and Colette shared a great deal of eye contact as they played. Lost in the music. Lost in the moment.
This intimate stage presence was the only constant trend that followed the band to their second performance the in the Wunderbar. I have to admit, I was expecting a similar show to the night prior and was surprised when they had traded their stand in guitar player for an old friend, Amii VolkoVski, on the skins.
Aside from one drunk and disorderly that chose to seat himself on the ground side stage, swaying and singing an offbeat tune along with the music and getting subtle glances and a half laughing grin from Alex as he performed, the crowd in the Wunderbar seemed to be full of nostalgia- old friends and family out for the show.
An ad in the View Weekly read “Blues Gypsy Swing Jazz Music” got me thinking about A.W Cardinal. What does a Blues Gypsy Swing Jazz band sound like? Later that night I gave their new album, Stainless Steel Heart, a listen on Soundcloud. A.W Cardinal Band is just what they promised to be in the ad. The notes picked from their instruments dare you to move with the air particles they've manipulated. Two of my favorites, Fester and Flume and Sin City, are songs that know they hold secrets, beckon you to come closer, to tilt your head and listen to the seductive mysteries of misery.
Last Wednesday night at The Black Dog, A.W.Cardinal Band looked as though they were playing in their living room. The band, encased by the hand rails and cushion seating that surrounded the stage, played alongside other rustic stage props, a tall orange shaded lamp sitting upon a table as well as an old brief case that held their homemade CDs, made the place feel more like a jam space than a bar.
Between the sound of Alex Wesley Cardinal’s story teller vocals that match the beckoning sound of his guitar and Jasmine Collete, a slim and classy looking woman who seems to be one with her bass, I would have never guessed that the pair had lost the third member earlier in the tour.
JesseDee, a local guitarist, stood in as their third. He was warmly welcomed by Alex who thanked him by saying, ‘there’s no better person to play who just learned the songs a few hours ago than JesseDee.’I bought myself a copy of the new album and found the band to be friendly and approachable. When I asked about their missing guitarist Alex expressed that it’s disheartening to be missing their third. He ‘values the connection [he] can make with members of the band while they play on sage.’ That connection, he believes, turns watching a show into an experience. This was evident throughout their second set as I noticed Alex and Colette shared a great deal of eye contact as they played. Lost in the music. Lost in the moment.
This intimate stage presence was the only constant trend that followed the band to their second performance the in the Wunderbar. I have to admit, I was expecting a similar show to the night prior and was surprised when they had traded their stand in guitar player for an old friend, Amii VolkoVski, on the skins.
Aside from one drunk and disorderly that chose to seat himself on the ground side stage, swaying and singing an offbeat tune along with the music and getting subtle glances and a half laughing grin from Alex as he performed, the crowd in the Wunderbar seemed to be full of nostalgia- old friends and family out for the show.
