Hey, you’re not the only one who’s turning 50
The Silver Dollar Room celebrates 50 years of live
music and memorable times.
Blues legend Byther Smith (on the right) has been a regular visitor
to The Dollar over the years and will be back January 19. Photo by Eric
Thom.
Any
seasoned sentimentalist will tell you that a building is much more than
its bricks and mortar – underlined when a cherished haunt is leveled in
the name of progress. Who doesn’t feel a little less complete at the
sight? Yet the Silver Dollar Room continues to stand, having withstood the
test of time, clocking in at a respectable 50 years old this January 1st.
Despite the chaos of changing ownerships and ever-shifting musical trends
through its evolution as a bona fide Toronto music destination, there’s an
undeniable spirit to the place - born of countless brown-bottled toasts
and its patrons’ insatiable appetite for live music and a good night out.
But Toronto’s premiere blues club hasn’t always been about the blues. The
band selected to open the Club – rumoured to be owned by the same person
who owned the Zanzibar – was chosen because they were popular and had an
established following. Bassist and all-round fascinating personality, John
Dowson, played that night with fellow Echoes Dino Grandi (keyboards,
accordion), Eddy Philp (sax), Gordie Glass (drums), and front man/singer,
Tommy Danton.
As Chris Quinn – banjo player with the Foggy Hogtown Boys – notes, “It’s
not on the entertainment strip…it’s a little off the beaten path.” In
1958, this was a potential problem – as all the action was over on Yonge.
Thanks to Tommy Danton and the Echoes, the place was packed, as Danton’s
Sinatra-like croon and the band’s good-time antics, delivered a powerful
set of jazz-cum-rhythm’n’blues that delivered all-round entertainment, a
chance to dance to a repertoire that included Chuck Berry, Joe Williams
and Jerry Lee Lewis covers, and time to mingle and chat between 35-minute
sets. From gold lamé jackets, crowd-pleasing talent and a shrewd sense of
self-promotion, their one night stand became a three month gig. Then, as
now, the Silver Dollar was a cocktail bar and the intimacy of the room
continues to differentiate itself from the majority of music venues.
Singer/guitarist and blues DJ, Danny Marks, adds, “I’ve always loved the
art deco look of the bar at the Silver Dollar. The location and height of
the stage and dance floor our front, seats on either side is the best
layout for an intimate show that begs crowd involvement.” Foggy Hogtown
Boy, Chris Quinn, adds, “the sight lines are exactly what you’d expect
from a former strip club - if you want to sit in a corner ‘cause you don’t
want to get noticed ogling (in his case) bluegrass…you can do that. If you
want to sit in front of the stage and lust after my banjo, you can do
that, too.” Quinn is referencing a period in the Dollar’s life back in the
‘70s when it was a strip club. Even then, it employed live musicians,
serving as a mecca for local jazz legends. The likes of John “T.” Davis
backed up the dancers on B3 and drums, working out routines as the girls
got ready backstage – proving that woodshedding occasionally does have its
perks. In defining the character of the Dollar, Brad Wheeler, Globe & Mail
entertainment writer, states “it’s a ‘lounge’. It’s a ‘room’. It’s not a
blues theme bar – it’s the real thing”. The very fact that little has
changed over the years lends itself to the Dollar’s rich historical
legacy. “Look at the walls. The murals are great and full of time and
music – one can feel…the Silver Dollar’s age and history”, notes Chris
Quinn. Promoter Gary Topp recalls its distinctively retro “low ceilings
and blue lights”. Blues fan, Dorothy Whittick, notes that “the blues is
music without pretense and the Silver Dollar is a club without pretense –
a warm, relaxing room that remains unchanged, creating a comfort zone.
You’re guaranteed a great show in a great atmosphere well worth the price
of admission.” Depending upon whom you talk to, “the Buck” is many things
to many people. Described as everything from an authentic blues club to a
toilet, from a friendly place to a guaranteed good night out, true blues
fans know exactly what to expect from each visit. Either the ambience adds
to the show or doesn’t detract enough from the club’s talent to make it a
real deterrent. In fact, it often adds to it. Danny Marks notes, “A room
that’s witnessed a ton of great performances over the years retains the
energy. That’s part of the magic of certain places….the music’s oozing
right out of the walls.”
Chris Quinn quips, “It’s no palace, but you don’t play blues in a
palace.…there’s a certain sound in the Silver Dollar that goes beyond the
room itself…an audience knows that the majority of performers who play the
Silver Dollar are making honest music that comes from the heart. One can
say that about precious few venues.” Al Kirkcaldy, blues DJ, CFFF, adds,
half-jokingly, “it’s located in a wino hotel, next to a homeless mission -
I think people love the location’s sense of danger and despair, which adds
to the overall blues experience.” “It’s a little off the beaten path.
(People) go because they have a reason to go there”, Quinn volunteers.
“It’s a destination, not an accident”.
People care about their Silver Dollar. Wheeler relates a story about
running into (the late) Willie Kent during a show at Blues Chicago. “He
asked me how the Dollar was doing. He didn’t want to know how I was doing.
He wanted to know how the Dollar was doing.” Al Kirkcaldy adds, “I think
local acts know they have ‘made it’ when they play the Dollar. Its name is
recognized all over the world. Some international artists are glad to say
they have played there.”
Recent noise surrounding the Horseshoe’s 60th merely serves to underline
the fact that the Dollar has distinguished itself by not being all things
to all people, but by booking the best blues acts in the world. And
everyone – but everyone - has a famous memory of a Silver Dollar dream
show. Richard Flohil and Brad Wheeler fondly recall Bobby Bland’s recent
appearance while promoter/producer Rico Ferrara notes Coca Montoya’s first
Dollar performance as well as jaw-droppers from Byther Smith and Tab
Benoit. Dorothy Whittick earmarks the late Bill Perry’s last visit while
blues fan Clark Bales fondly recalls a recent Savoy Brown show as being
his best show ever. Mako Funasaka narrows his choices down to Billy Boy
Arnold’s recent show and the pairing of David Rotundo to Enrico Crivellaro,
admitting too many great shows to choose from.
There are a million stories – many of them “unprintable”, says Gary
Kendall. Although Kirkcaldy’s reminiscence of Steven Segal crashing
Deborah Coleman’s show remains a laughable highlight. Star sightings
include everyone from Vince Vaughan, Bruce Iglauer, Shooter Jennings, Tom
Sizemore and Susan Sarandon. Rumour holds that the infamous James Earl Ray
hid out at the Waverly, frequenting the club while on the lam. Gritty
American novelist Elmore Leonard includes a reference to the Dollar in
Killshot: “Try to come along Spadina Avenue, see that goddamned Silver
Dollar sign, hundreds of light bulbs in your face and not be drawn in
there.”
In fact, the Dollar is popular with more than blues fans today, cited as a
go-to place for movie shoots and music videos. Local blues
historian/producer, Mako Funasaka credits The Dollar with his entry and
acceptance into the business of the blues world, citing Gary Kendall and
Rico Ferrara as warm and generous gatekeepers. Somewhat frozen in time,
the club has, nonetheless, had to ante up in today’s competitive
marketplace. Known as a showplace for electric Chicago blues, the
fragmentation of music audiences and increased competition for their slice
of the entertainment pie has forced the Dollar to diversify and embrace
new music. Its adoption of bluegrass 8 years ago has resulted in its
wildly popular High Lonesome Wednesdays with Crazy Strings – an amalgam of
the Foggy Hogtown Boys and the Creaking Tree Quartet, while Dan Burke’s
cutting edge rock shows draw an entirely different crowd.
Downchild bassist and Dollar promoter, Gary Kendall, admits that the
Dollar still books the best blues acts in Toronto and he’s proud of the
fact that each and every musician is treated with respect. “We recognize
that they are what put people in the seats and that, without the music,
there’s no business for anybody”. He demonstrates the Kendall attitude
when asked which acts had delivered the biggest home run. His answer?
“Anytime we have a show that makes money for the club and for the artist.”
Tommy
Danton and the Echoes (left) played the first gig at the Silver Dollar
Room on New Year's Eve, 1958
“The Dollar has carried the standard for the blues for a long time”,
states savvy, seasoned promoter Richard Flohil and, despite tough times in
clubland of late, the reason for the Dollar’s ability to stay the course
and keep its doors open to live musicians is due to the hard work and
dedication of one man over the past 11 years: Gary Kendall. And everyone
from Gary Topp and Mako Funasaka to Rico Ferrara and KOCH Records’ Eric
Alper agrees. “The guy loves music”, says Chris Quinn. He’s a musician par
excellence with open ears, always listening for the next cool band to
bring into the Dollar. His enthusiasm is unwavering and he’s a straight
shooter.” Richard Flohil understands the Dollar’s secret weapon: “The
Dollar has Gary Kendall – a savvy booker, a terrific promoter and a
really, really nice guy whom I like and admire very much." Gary Kendall
credits owners Dave and Elsa Yarmus "They`ve shown me nothing but trust
and respect for the 11 years I`ve been with them. When I have a show that
goes over the top and is very successful, I hear about it. When I lose on
one, it might get mentioned but they never blame me or the band. To them
it`s all part of the business."
Andrew Galloway, President of Electro-Fi Records, put on his first show at
the Dollar with Chicago harpman Little Mack Simmons in ‘97 and recently
celebrated his label’s 10th anniversary and 50th CD this past November
with Chicago harp man Billy Boy Arnold. His observations are most telling
of the Club’s longevity and popularity: ”The Dollar hasn’t really changed
a bit in those ten years, but that’s okay - because real deal Chicago
Blues and the people who love them haven’t changed much either.” Flohil
agrees: “ Good music is where you find it and over the years, we’ve all
found a lot of it at Spadina and College.”
– Eric Thom
Memphis
Bound: The Toronto Blues Society has a couple of representatives at
the International Blues Challenge being held in Memphis at the end of the
month. Shakura S’Aida and Danny Brooks have received the support of the
TBS for this event and we wish them the best of luck. Another Toronto
band, Fathead, will be going down to Memphis representing the organizers
of Thorold’s Canal Bank Shuffle.
OCFF Changes: OCFF Executive Director and
long-time friend of TBS Erin Benjamin is leaving her post at OCFF to take
the reins of the Canadian Arts Presenting Association (CAPACOA), Canada's
network of performing arts touring professionals. It is the national
association that represents the programmers, artists, agents, facility
managers, stagehands, ticket sellers and marketers who shape Canada's
performing arts sector. She will stay with OCFF until March.
Dan Aykroyd to write J-W Jones CD liner notes:
Ottawa guitarist J-W Jones has announced (another) collaboration with
Hollywood celebrity fan and friend, Dan Aykroyd. The Ottawa native and
original blues brother himself will be writing the CD liner notes for
J-W’s upcoming CD, due in early 2008.
Awards, Awards and more awards: The board of
directors of The N.A.R.B. Dee Jays Association, recently awarded Danny
Brooks their Annual “Blue Note” Award for his efforts in the promotion,
preservation and perpetuation of Rhythm & Blues music, with distinction.
"Congratulations goes out to Mr. Danny Brooks, our 2007 winner of our is
efforts in writing and performing of the songs “The Other Side Of The
Cloud” and now “Ain’t That the Truth” have caught the ears of many of our
members, who have presented these songs to our dance community, with major
success".
Dennis Gomo received the Al Cromwell Award for
folk/blues during the 10th Porcupine Awards from CIUt-FM’s Steve Fruitman.
Steve had this to say about Dennis: “After spending more than two decades
playing the blues in various bands around the province of Ontario, Dennis
Gomo went solo, exploring the world of creative songwriting in a way that
would fit into the structure of the blues. Whether he sings about the new
world order to come or his desire to spend quiet summer days at his
spiritual home on the shores of Lake Nippissing or just heading back to
the birth of the blues by pulling off a rendition of Blind Boy Fuller,
slide guitar in hand Dennis Gomo provides a captivating performance with a
smooth voice and a sure, clean vocal. Now with two CDs under his belt,
Dennis has been plodding a forward course, continuing the great tradition
of Canadian blues.”
Folk Awards to Rita Chiarelli & Mighty Popo:
Perennial favourite Rita Chiarelli won the Canadian Folk Award (Best Solo
Artist-World) for her album Cuore : The Italian Sessions Best Group-World
went to Mighty Popo for his album Muhazi.
The East Coast Music Awards have announced their
nominees and in the blues category it;s Catahoula Brown, Bridgewater, NS
for Let that Boy Boogie; Geoff Jardine, Halifax for Once Was a Big Man;
Ross Neilsen, Fredericton/Halifax for Early Grave; Thom Swift,
Fredericton/Halifax for Into the Dirt and Shirley Jackson & Her Good
Rockin’ Daddys, Halifax for Comfort Food. ‘Comfort Food’ was also
nominated for a Nova Scotia Music Award for Blues Recording 2007.
Johnny Max and Martin Alex Aucoin’s album “So
Far” was also nominated for an East Coast Music Award in the jazz
category. This year the ECMA’s will be held from February 7 to 10 in
Fredericton for the first time.
Out London way, the Jack Richardson Awards will
take place on March 30th at the Music Hall on Queens Avenue. Richardson,
who is in ailing health, is a true Canadian music pioneer best remembered
for producing classics like These Eyes (The Guess Who) and Night Moves
(Bob Seger) and a few blues albums as well.
Touched By the Blues 2nd edition out now: The
2nd edition of “Touched by the Blues” by Toronto ex-pat now living in
Israel Eli Marcus is out and ready to be shipped worldwide. It’s full of
contributions from Toronto players and is now priced at $14.95 including
postage worldwide. Order your autographed copy now!! Visit
http://elimarcus.com/Touched_by_the_blues.html
- Joel Blain, Brian Blain
Loose Blues News
Tate's
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