Security guards were prowling the building, and we were all ordered to evacuate the studios. Fire lights were flashing, alarm bells ringing in the halls.We closed the heavy studio door, rolled on with the pledge drive, and held fast. I had my coat on, my bag packed, but at Suzanne Harris' calm resolve, we decided to stall for time. It was the level headed thing to do.

Rightly so, as it turned out, because the emergency somehow wound down. There was more excitement shortly after that, when all the mics completely went dead, just as I was intro-ing a tune. This happened not only once, but twice!

Everything evened out. Rita Chiarelli was with me as Raoul walked in. Every call light was lit, the air full of the shrill ringing of every single phone, all at once, bodies in mid air, leaping over each other to snatch them up. We didn't have enough hands.

Figures were good, we exceeded our goal, revenue only briefly down during the period without mics. By that point, young Steve was so on the ball, he had the music cued up and fired in, so there was no dead air. I was chowing down on some rare roast beef, while Brad calmly phoned up Donnie Tong and kick started the board, putting us back on the air. Through it all, we kept smiling, and everyone enjoyed the wild ride. In the end, we made it home, and nobody got hurt.
Danny.

MISSISSIPPI BLUES at the PHOENIX
The Mississippi Blues for Hurricane Relief took place Monday October 25th, at the Phoenix. The event was unique in that it embraced a wide variety of music and performance, and it was all about the rich culture and heritage indigenous to the part of North America stricken by the hurricanes.

I hoped to get stimulated on all senses, and didn't have to wait long.  As soon as I entered this venerable old nightspot, the smells of southern cooking reached into that most powerful spot. I immediately fulfilled the urge. Donated by  Southern Accent,  we dined on  the best gumbo north of the Big Easy.

Satiated,  I took a seat just as the show was about to begin. The house lights went down, and the crowd hushed as a single drum was sounded. Quamie and co-event host Raoul Bhaneja regaled us with a poetry reading set to music. The lone harmonica rang out, calling for a return to New Orleans. As this stirring presentation came to an end, lights moved and the distinct sounds of jazz, led by trumpeter Kevin Clark with Shuffle Demon Richard Underhill’s saxophone, skin man Bucky Berger and Terry Wikins on the dog house bass, made the sound of New Orleans come alive in Toronto.
 A gracious Raoul Bhaneja introduced charismatic co-host Danny Marks. Dann's distinctive deep voice welcomed us to the big event for the Big Easy. Kevin Clark gave a quick, passionate, first hand rap about life on the riverboats, then Danny launched into a pair of classic NOLA standards. First, the schoolyard chant of Iko Iko, then a stirring take of Blueberry Hill. Danny definitely channeled Satchmo on that one. The sound was rich and strong.

 Everyone was smiling as a succession of stellar performers took their turn. Blues Debutante Elyssa Mahoney thrilled the crowd with the Randy Newman tune Louisiana, John Knight blew the doors off with his electric version of Muddy Waters, and a smiling Paul James danced his way through Bo Diddley’s Mona. Leon Stevenson and Rodney St Amand had taken the drums and bass by this time and they were tight, the horn section was crisp, pacing and changeovers seamless. This was blues at it’s most entertaining. A highlight for me was Sherrie Marshall’s I Put a Spell on You. Where has this gorgeous gal been hiding? Greg Goddovitz, strolled through a rollicking I Hear You Knockin’. And it's only the first half! This would make a first rate TV program.
 Part two promised more eclectic stuff. After a funky off the wall reading of Michael Ondantjee, to abstract jazz accompaniment, Joe Sealy, sang the blues, and showed how a true Jazzman delivers. Gentle giant Denis Keldie, the king of keys drifted on and off, supplying authentic New Orleans piano. A most unusual group then took the stage with a very steamy burlesque number. The Coquettes are five nearly naked women and one man. Whew! Things quickly turned from thoughts of skin city to a mood of fire and brimstone. The Whiteley Brothers graced the multitude with gospel as heavenly bro Chris took us on A Closer Walk with Thee. Ken channeled both Jimi Hendrix and Bill Monroe on his mandolin, sparks were flying. At one point Ken donned a metal breastplate in the Zydeco tradition.

 The crowd gave the brothers a mighty ovation, but there were still more heavy hitters in the offing and soon, fronted by a large white tuba, the Rhythm and Truth Brass Band marched straight up the middle of the centre aisle to the stage, pumping the valves, and filling the air with the sounds of brass. Next came Sue Foley, cradling her paisley Telecaster, radiating cool beauty, and singing like a bird. Finally, on strolled Mr. Downchild, Donnie Walsh, honking out a blue harmonica solo, and gruff voiced Johnny Max joined him for a rousing crowd pleaser that capped the night.

 Beaming a broad grin, Dr Julie Hill of the Toronto Blues Society raffled off a pile of prizes, including a night at the ultra-cool Drake Hotel, theatre and restaurant gift certificates. Everyone involved was justly and warmly thanked. A happy crowd walked out into the autumn evening drizzle. I remember thinking: If this is how we could change the world, let’s hope we see more nights like it. Hats off to Enzo at the Phoenix, the TBS, Stef, Eric Alper, theatre director Paul Thompson, Rico, Rob Boyd and the crew, JAZZ.FM91, Steve's Music, Long and McQuade, CITY TV and everybody who made it possible.

- Anna B

Danny Marks at Blues for The CBC. October 17th Healey's
Music Review by Anna B.
The one and only time I caught Danny Marks he was opening for John Hammond, solo, personal and intimate. I knew this was a departure for him and it whetted my appetite to see how he'd transform with his band. I decided to slip into the Blues for CBC awareness raiser at Healey's crowded bar last Monday. After a scintillating set from silver haired harmonica man Mark "Bird" Stafford and friends, Danny took the stage holding his familiar black Stratocaster and looking sleek in tight jeans and T-shirt.

As the CBC's own John Northcott began his intro, it was clear that the two men were old friends, with a lot of love between them. Alec Fraser had taken his place with bass on Danny's left, and Leon Stevenson slid onto the throne behind the drums. John's intro gathered momentum, and the group chorded lushly behind his words "And now here he is........"

It was then that all Hell broke loose as Danny launched into a thundering version of the surf rock classic Pipeline. Letting his guitar lead the way, man and axe were joined at the hip. The audience was literally blown back in their seats as Danny seemed to be lifting off the ground with the buoyancy of the beat. This was a notch up in the energy level from the last time I saw the man fit a crowd into the palm of his hand. Indeed, the smile came over their faces in a wave, as all involved were picked up in the rush of sound. A video team was on hand and Danny played to them, mugging and dancing for the camera.

As the first song came to a close, we were once again treated to some wry commentary, in that deep playful tone we've all heard on radio for decades in this country. The man obviously has a joy of stage, and the people were instantly caught up.

Danny and the band took it to another place as they pulled off a sparkling retro rendition of Dusty Springfield's classic I Only Want To be With You. Harmonies were spot on, it was quickly mentioned that the song is on his newest disc "Big Town Boy". Sixteen Tons was rendered with style and grace, Ring of Fire was soft and sweet, and pretty soon they were saying goodbye.

The final song of the evening, a tour de force of twang, was a version of Summertime Blues that was pure Ramones. It ended with a stunning medley of rock riffs and a long climb up to a crashing crescendo. The crowd, now nearly breathless, called for more, but in vain.

As the man slipped back into the night I resisted the urge to introduce my self but noted that someone else had not. A radiant Hanna Gartner and Danny were leaning into each other in animated conversation. She was beaming up into his face as he smiled back at her. I wondered what was being said between our nation's leading TV journalist and this vintage rocker.

As I walked out into the rain I realized, it was a special event for all involved. Danny won them over from the first chord and held them smiling and dancing in their seats. The man loves what he does, and you end up loving it too. I'm so glad I went.

The Speakeasy on Church Street is Toronto's newest blues venue. The place was packed Saturday for legendary performer John Hammond. The vibe in the room was palpable at nine pm when opening act, Toronto's own Danny Marks showed up, nattily attired in a black suit. After a quick intro and hand shake with the house soundman Danny quickly took to the stage and within minutes he launched into his first number. Looking confident, armed only with his namesake black Strat, the room hushed as the pleased patrons realized just who the opening act was. Marks opened with a pair of blues classics, Gus Cannon's Walk Right In and Evenin', made famous by blues pioneer T-Bone Walker. You could hear a pin drop as Danny sang and explained the connections he had with these tunes. Here was an intimate, one on one concert by the man most know only from his popular bluz.fm radio program on JAZZ.FM91. Things got much more personal as Danny pulled out three songs from the self penned TRUE: the title track, Bicycle Boy and the wryly humorous Call Me George. The crowd hung on every word, taken aback by the stark performance of voice and guitar and the deeply personal revelations of the lyrics. Quickly wrapping with three of his favorites, Dylan's Love Minus Zero, Lennon's In My Life and Jagger Richard's As Tears Go By, Danny Marks bid the audience adieu to the sounds of generous applause, a whoop or two and as quickly as he appeared, he was gone.