Global Beat Fusion: 49 Hours in Toronto

13 11 2008

By Derek Beres

I’m not sure why Toronto is called “T-Dot”. Oh, I’m sure there’s a very simple reason, but sometimes things remain more powerful when a mystery. I had made the mistake of referring to it as “T-Town” at one point, and was nearly assaulted by my friends. I supposed it’s like when tourists call New York’s Houston Street as if it were a city in Texas—if one can imagine the political and social distance between Manhattan and the state that spawned George W. Bush, there is no mercy in our reply.

Yet my friends were lighthearted in their scolding, and I noticed during my short time in Toronto that everyone I encountered had a similar attitude. Maybe it was the gorgeous architecture of the seasons—a slight, crisp chill surrounded by pockets of sunshine, a not-very-bitter drizzle that gave way to the lingering scent of autumn. I had made my way 90 airplane minutes north to attend and perform at the 7th Annual Small World Music Festival, one of the most comprehensive and far-reaching global music gatherings in North America. Rivaled by (and piggybacking) Chicago’s seminal World Music Festival, the Annual Small World Music Festival provides Toronto with a nearly two-week influx of amazing talent from across the planet in an ambitious feat of cross-cultural programming

I was invited by CIUT radio DJ Richard Martin, aka medicineman, whose show “No Man’s Land” is one of a handful of world music programs that have sustained and prospered in a radio market that focuses on anything but international sounds. We met in Montreal nearly five years ago and have since stayed in touch, often trading band names and mp3s in an attempt of giving innovative artists access to the very few media outlets dedicated to international music. He also led me to some things I would have never even imagined possible, like the world’s largest rodent (a guinea pig-looking creature the size of a pig) in residence at the zoo inside High Park, and a restaurant dedicated to fusing, of all things, of Hungarian and Thai cuisine.

After a surprisingly smooth flight into Toronto (on Continental, no less; my luck would not persist on the way home), I ended up at the Drake Hotel Underground to DJ alongside Eccodek. The party was in celebration of their new CD, Shivaboom (White Swan). I first met Andrew McPherson, Eccodek’s founder and keyboardist/producer, when he sent me a copy of the independently released More Africa in Us while I was working as an editor at Global Rhythm magazine. Despite the fact that I had never even heard of Guelph, I was immediately taken to the record. It fused tasteful elements of African music into a lightly textured electronic palette. His follow-up, Voices Have Eyes, did more of the same, only expanding into Turkish and Indian elements, along with flourishes of dub.

Read the full column on PopMatters.

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