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Doug McClement
R. Zee Jackson
FYI
Obituaries: Canadian Reggae Star R. Zee Jackson, A&M Promo Exec JP Guilbert, Irish Singer-Songwriter Glen Hansard
This week we also acknowledge the passing of French music DJ and producer Kavinsky.
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R. Zee Jackson (also known as Esso Jaxxon) a Jamaican-Canadian reggae vocalist, songwriter and engineer who had a major impact on the Toronto reggae scene, died on July 25, at age 72.
A profile in the Canada Black Music Archives (CBMA) writes that ''R. Zee Jackson was born in Clarendon, Jamaica, where he spent his childhood before migrating to Canada. In 1973 he participated in a cultural exchange program to the United States which would lead him to moving to Canada in 1975. There he would meet reggae producer Oswald Creary of Half Moon Records and Doug McClement of Comfort Sounds Studio.''
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Renowned audio engineer McClement tells Billboard Canada that ''R. Zee was my first Jamaican client. I first met him in early 1977 when I was just starting up Comfort Sound, a 4 track studio in the basement of a rented house in East York. He was about to record “'Wonderland,' his first 12” single, and was looking for some kind of reggae/rock crossover sound, so rather than using the Jamaican-Canadian rhythm sections that played on most of the local sessions, he asked me to find some Toronto club musicians instead.
''I hired David Wilcox’s legendary backup band, The Teddybears (Terry Wilkins, Bucky Berger and David Baxter (R.I.P.) with John Sheard (Dan Hill’s pianist). We didn’t know much about recording reggae, and R. Zee was very patient with me as I figured it out with his help. He was a budding producer even then. Everyone rose to the occasion, and the final result sounded great.''
Jackson and McClement then worked together extensively, as the latter recalls. ''We were both the same age, and really hit it off, doing dozens of sessions over the following years at Comfort, some with him as the featured artist, and some as a producer for local reggae artists R. Man Prince, Shockwave, Johnny Osbourne, Pluggy Satchmo, and Owen Grey.
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''RZ’s early '80s album “Seat Up” was big in the local reggae community. I also remember him introducing Bow Wow Wow at the Masonic Temple for a CFNY Live Broadcast back in ’83. He moved back to Jamaica shortly afterwards, but we kept in touch over the years, and I went to see him perform his last show in Toronto at Jankie’s Place just a few months ago.''
.A bio on the Citizen Freak website notes that ''Jackson also met and recorded with [reggae legend] Jackie Mittoo who was living in Canada. R. Zee recorded his own songs on the BeeZee Sounds Production label and also recorded on the C.C. Records label.''
''Jackson was introduced to Leroy Sibbles (The Heptones) who aimed to teach him a few things such as singing harmonies – thus R. Zee ended up singing on stage and touring with Sibbles' Ital Groove band. The band was one of Canada’s more prolific reggae groups touring half of the year and working in studios the rest of the year.
Jackson released his own album titled Seat Up in 1980 and continued touring with the band when he could. McClement recalls that ''Seat Up was big in the local reggae community. I also remember him introducing Bow Wow Wow at the Masonic Temple for a CFNY Live Broadcast back in ’83. He moved back to Jamaica shortly afterwards, but we kept in touch over the years, and I went to see him perform his last show in Toronto at Jankie’s Place just a few months ago.''
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In his online tribute, Toronto radio DJ, music journalist and reggae musician Paul Corby reports that ''As a producer and recording artist, R. Zee's award-winning 1980 LP Seat Up established his visibility locally, and further album releases, such as Reggae Labrish and Unda De Struggle [named top reggae CD/album at the Canadian Reggae Music Awards] spread his name worldwide, leading to travels in England and the U.S.A.''
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''In Toronto, he made efforts to focus attention on the presence of the burgeoning reggae community. In response to his own win at the Black Music Awards, he held a Black Media Awards Night at a popular club called Bond Street, recognizing the influencers who were then active in print, radio and concert production. In the Jamaican community centered at Eglinton and Marlee, he became well-known for presenting artists and recording their work. In 1984, he assembled a collection of top Toronto musicians to tour the west coast as Jamafrika, with shows in Vancouver, Seattle and Portland.''
Citizen Freak reports that ''Jackson was a player in the development of the Little Jamaica reggae community located along Eglinton West Avenue in Toronto. During the height of the area's music production, he engineered tracks 3-4 times a week. From the 70’s into the 90’s there were several recording studios along the strip with many storefronts and producers having the ability to press their own records, as there weren’t many plants in the city at the time. The local clubs had no problem with the bands playing in their establishments, leading to a booming indie reggae community.''
Jackson continued to perform locally, including at famed Toronto music venue The BamBoo. In 1990, he opened up for the legendary Wailers at The Copa. He ran his own record label, Dubworl Audio Visual HQ and in the 1990s he attended the Trebas Institute majoring in Music Business Administration, earning his degree in 1996.
He worked with Imaj Music and was the Vice President of Marketing for Kings of Kings Inc. The CBMA bio reports that ''He briefly moved to England in the late 90’s touring with Kings of Kings and later met up with hometown friend Cedric Myton of The Congos. He worked with The Congos since the early 2000’s.''
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Doug McClement reports that ''R. Zee and The Congos frequently performed in Brazil, where they had a big following. Relocating back to Jamaica, he had continued success as an artist and producer. We kept in touch over the years, and I went to see him perform his last show in Toronto at Jankie’s Place just a few months ago.''
Paul Corby notes that ''R. Zee had returned to Canada recently to appear at some live shows, at BSMT254 in Toronto and a surprise cameo at Reggae On The Beach with Bless Up sound System, and to publicize the release of his latest album Black Coffee And Dub.''
Jackson's work earned him an audience in Europe, and in March this year he performed at the Roots Foundation Festival in Switzerland. One high-profile European project he was part of was Novelty Engine, described as ''a living project where legendary musicians from different worlds come together to create a unique performance.''
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Creating a fusion of psychedelic trance, dub, and rock, Novelty Engine featured Jackson on vocals alongside such legendary musicians as Jah Wobble (PiL), Steve Hillage of Gong and Cedric Myton (The Congos). On July 29, they went ahead with their performance at O.Z.O.R.A Festival in Hungary without Jackson.
On Facebook, group curator/guitarist Ajja posted this tribute: ''We are sad to announce that our friend R. Zee Jackson (also known as Esso Jaxxon) passed away yesterday. We had the privilege of collaborating with him on several installments of the Novelty Engine project and it was always a pleasure to share a stage and moments of life with RZee.
''He was about to join us once again at Ozora Festival in just a few days.All of our love and thoughts go to his family and loved ones. This year’s Novelty Engine will be dedicated to his loving memory. Fly high, RZee, may you travel gently in the infinite light. With love and great respect, Ajja, Tanya & Novelty Engine.''
Italian reggae historian and radio host Fabrizio Lagana was a fan of Jackson and on July 30 he devoted his hour-long Ital Vibes Radio Show to Jackson. In a Facebook tribute, Lagana posted that ''There's no peace again, because the real great Jamaican legend R Zee Jackson has passed. My very deep condolences to his family, friends and all fans around the world. I remember our talks here on FB about the old style of our sweet reggae music. Never forgotten. June 23 1954 - July 25 2026.''
As news of his passing spread, Toronto peers and fans of Jackson were quick to pay tribute on social media. On Facebook, top local reggae band Memberz posted this: ''Forward to the Kingdom. Caught away so suddenly, RZee Jackson - Canadian reggae pioneer and musical godfather to many. Seat up Rasta.''
In his online tribute, Paul Corby wrote that 'Known for his showmanship and gregarious personality, R Zee Jackson, was, in Toronto, a conspicuous and responsive source of Canadian Rasta aesthetics and sensibilities. His passing has sent waves of love and remembrance through the world reggae community, and especially the city he had called home for over fifty years. His positive personality and dedication to the music will be irreplaceable.''
Doug McClement offered this tribute to Billboard Canada: ''RZee Jackson was a kind, smart, creative man, and a lot of fun to be around. When a mix was going nowhere, he would come up with a cool idea out of the blue that would point us back in the right direction. He was a client who became a good friend. He even helped me move all my furniture to my new house back in ’84!'
JP (Jean-Pierre) Guilbert, a highly-respected former A&M Records Canada promotion executive, died on July 27, at age 77.
First at A&M's Montreal branch and then at the label's Toronto HQ, Guilbert worked his way up the ranks in A&M's promotions department, becoming vice-president of promotion in 1987.
In September 2018, Billboard Canada FYI published an extensive salute to Guilbert by veteran Canadian broadcaster Jim Jj Johnston, as part of his JJ-365 Salutes series. An intro to that profile noted that ''the majority of those profiled in this series have been broadcasters; Jj made an exception with JP, simply because he was an exceptional promo man, and remains an exceptional human being. He also has a remarkable story to tell, as you will find out below.''
This profile notes that ''As a French Canadian from Trois-Rivieres, in the heart of the Quebec that was 99% French-speaking in the early '70s, J.P. was coming out of university in business administration and decided to take a year’s sabbatical. He drove to California to learn to speak English, a top priority for him at the time.
''He found some interesting odd jobs to survive and it was the beginning of it all for him. On the radio was Carole King, James Taylor, Crosby Still Nash and Young, The Beatles, The Rolling Stones, etc. The world was changing, and he was getting into the scene, but he couldn’t extend his stay in the U.S. and had to make a decision.
''In 1972, J.P. moved back to Montreal and got a job at the Montreal Gazette on the South Shore, in the distribution department, and got his first real marketing challenge in trying to increase their circulation.
''Within a few months, in 1973, he got in touch with some old school friends, Henry de Cotret (who was now a DJ at CHOM-FM) and Michel Tremblay who was the Promotion Man for WEA Music Canada. In their conversation, it was mentioned that WEA was looking for a salesman. J.P. applied for the job, got it and started the following week taking inventory at all the rack jobbers (companies that sell your records to the stores).
''Three months later Tremblay moved to Capitol Records and the regional promotion gig became available. J.P. says 'I have to be honest, I didn’t really like being a salesman, but it was the perfect crash course to understand the business and the interaction between promotion and sales. The branch manager of WEA at the time was Jacques Chenier and, after jumping on his desk a few times to explain that I was ‘The Man’ he needed for the job, he gave me my first real break.'''
''That same day Jacques looked at him and said, 'Book a limo' and off they went to pick up Emerson, Lake and Palmer who were arriving on their chartered plane as they were playing the Montreal Forum the next day. They had requested their radio and press schedules, and this was a 'vite' welcome to J.P.'s new world! It was stressful, but he loved every second of it. He was winging it the best he could and getting along famously with the band. The next day he was finally going to the radio stations and starting to understand what radio people needed to know about why they should be playing his records.''Just a few weeks later, Genesis visited Canada for the first time, with Quebec City the start of the tour, and Guilbert quickly established a rapport with Peter Gabriel and other group members.
Guilbert's skills at promotion quickly caught the attention of A&M Records, who lured him to the label. Johnston's profile noted that ''The challenge for him at A&M was to be able to work the artists and their records in more creative ways. Everything wasn’t all coming on a silver platter, he says: 'You had to work harder to get there, but it was extremely rewarding to see your artists grow. We had incredible A&R departments in the U.S. and England and it gave us the edge and credibility to break Joan Armatrading, Chris de Burgh, Styx, Supertramp, Peter Frampton, The Police, Squeeze, Joe Jackson, Split Enz, Garland Jeffreys, John Hiatt and Peter Allen to name a few, to the rest of the world.''
Memorable moments followed for Guilbert. In 1976, Gino Vannelli, who was in the recording studio in L.A. at the time, asked Guilbert to accept his Juno award on stage in Toronto. Johnston reports that ''another exhilarating time was when he walked into CHOM-FM one morning with the acetate (test pressing) of Supertramp’s Crime of the Century. After 60 seconds of listening, PD Peggy Colston brought him up to the studio and Bobby Boulanger (morning man) put the album on air. They then watched the phone ring non-stop from listeners wanting to know who the hell they were playing. [Rival station] CKOI-FM was not happy.
''A few months later he did the same thing with Peter Frampton’s Frampton Comes Alive at CKOI-FM with Bob Beauchamp. It was pay- back time for CKOI-FM as they were the first to play it. CHOM-FM played it an hour later. The same kind of fervour happened with 'Suite Madame Blue' for Styx. Montreal went nuts, and Styx moved from playing bars in the U.S. to a sold-out concert at the Montreal Forum.''
Such successes hastened a promotion of Guilbert to A&M's head of national promotion in Toronto in 1976. Johnston observes that ''JP had a great deal of freedom to work the records and battle at radio to get them played. He once chained himself in the lobby of Q-107 so they would add Chris De Burgh’s 'Don’t Pay The Ferryman' to their playlist. He made the news, and after two nights on the floor and other record company promo guys sending him pizza and wine, he got the song on the air. The third day Gary Slaight at Q told him that they had added the record but didn't tell him because they wanted him to suffer and have a little more fun.''
From 1976 on, Guilbert worked closely with Jim Monaco, who worked the publicity beat at A&M Canada. Monaco tells Billboard Canada that ' ''I began working with JP immediately I joined in 1976. JP was promotion rep for Quebec and proved an eager collaborator.
''The company allowed us to integrate as much as necessary, giving us real publicity representation in national markets (branches in Vancouver, Calgary, Toronto, Montreal) and covering all major cities. The promotion staff were effectively publicity persons when needed. Right away I was on the road to learn about how the company operated and meet the staff. We developed and maintained our media contacts in the marketplace (the individual promo reps were already doing this as part of their comprehensive local thrust and now we had a team co-ordinating strategic coverage). It freed us up to do more national work, too.''
In June 1987, Guilbert and Monaco were promoted simultaneously, to vice president of promotion and vp of publicity respectively, with the announcement made at a promo convention at the head office of A&M in L.A..
Johnston's profile reports that ''In 1989, Guilbert was promoted, again, this time to vice president of promotion and artist development and got more involved with the artists, their recording times, studios and finding producers for their videos etc. In 1990, Polygram Music bought A&M Records, and they came with their own department heads; so, in 1991, a few of them, including J.P., [and Jim Monaco] had to take a walk on the wild side.''
''He got a few interesting offers but wanted to do something by himself this time and after a call from Kim Turner, The Police’s tour manager, he was introduced to a band called The Samples, managed by the Guggenheim family in New York. They were looking for a record deal.
''J.P. quite liked their sound and proceeded to do a showcase at the Horseshoe Tavern in Toronto. He put his heart into it and invited record labels, radio personalities, promoters, press and consultants. That afternoon he got a call that the band was at the Canadian border and that they would not be allowed to enter the country. With extreme frustration, he announced the NO SHOW. Everyone understood, however, he was in a different headspace.''
Guilbert's next career move was to leave the industry and head to the Caribbean. Johnston reports that ''He formed a company, bought a ship and went to St Maarten. With the amazingly personable J.P. at the helm, the Lady Mary was a hit. He and wife Lorna [Richards, another music industry veteran and A&M publicist] did dinner cruises for 10 years, and all was well till they lost ‘The Lady’ in a hurricane.''
The couple then opened the Pizza Galley, a restaurant in St Maarten, followed by the acquisition of a large bar, The Dock. In all these ventures, hospitable hosts Guilbert and Lorna welcomed Canadian music industry friends. Jim Monaco tells Billboard Canada that ''Many colleagues and friends visited St Maarten and, in my and other cases, we stayed with JP and Lorna and ate a lot of pizza! David Farrell [the late publisher of The Record and FYI Music News and Billboard Canada contributor] visited many times. It was a perfect spot for the little-known sailor he was.''
Fate intervened in 2017 in the destructive form of Hurricane Irma, one that destroyed the pair's holdings and hastened a return to Canada. Guilbert explained to Jj Johnston that ''After much reflection on the hurricane matter, we decided to move back to Canada. We now live happily in Northern Quebec overlooking a lake and listening to our babbling brook but somehow still keeping very busy and dreaming of the future.''
Monaco recalls that ''JP had been building his cabin (a fairytale, humble, unassuming but with modern 'bones' in the bush) for several years while living and working in St M. He was a real Quebecer, we were coureurs de bois (runners of the woods).
''Located a bit north of Montreal, it was quite a feat of engineering and his and Lorna's famous hospitality drew many friends to Lac Kamika for fishing, music, water fun, campfires, great food and natural beauty. JP battled a family of beavers for years on the property and that might be analagous to how he fought for our artists across Canada and with A&M around the world.''
After learning of his passing, Guilbert's music industry peers and friends were quick to pay tribute on social media. Here is a selection (from Facebook, unless specified otherwise).
Jim Monaco, to Billboard Canada: ''We were intertwined, we were family. JP was my daughter's godfather and my son, a chef, spent a year in his restaurant. JP was a host. He loved music, he loved people, and he loved bringing them together.''
Jim JJ Johnston (in his 2018 FYI profile): ''Talk about an original, genuine and authentic character! Fearless, entrepreneurial, hopelessly creative, charming, resourceful, perseverant, smart as hell, fun, funny and probably the most personable person I have ever met. It didn’t matter how far you were up or down the food chain, J.P. would always go out of his way to give you a smile and a laugh and make you feel like somebody. He’s an incredible person, and I am happy to say I know this delightful dude. Atta be, J.P.''
Record label veteran Geoff Kulawick (Linus Entertainment) terms Guilbert a friend and mentor. He tells Billboard Canada that ''A&M Canada was a great company to work for and JP as VP promo was the best - so good natured, positive and the best promotion guy ever. He had a twinkle in his eye and a way of making everyone like him.
''He showed me the ropes at a great time in the record business. I remember fondly the gimmicks and tchotchkes he came up with to get a laugh and an add from radio programmers. He led a promotion team breaking international records out of Canada like 'Lady In Red,' 'Rock Me Amadeus, ' Supertramp, the Police more than any other company.
''I remember fondly one road trip to NYC with JP to bring Q's Frost and Macko to see Sting and Squeeze in concert and have dinner with Charlie Minor and 20 other U.S. radio programmers. It was legendary. Good to see him and Lorna at David Farrell's celebration of life. He will be missed.''
Joey Cee: ''Another shocker. Got to connect with him one more time at David Farrell's life celebration. One of the best music reps I ever had the pleasure to work with. RIP JP.''
Ken Bain: ''Tough one to read about. An upbeat first class individual. He made an impression in the music biz and down on the island. RIP JP.''
Kevin Shea: ''This saddens me so much. He was legendary. A&M was tremendously successful in breaking acts with little or no support in other territories through J.P.’s leadership. He also treated his distributed labels well. God bless you, J.P.''
Paul Orescan: ''JP was an authentic person with a warm personality. A great promo man in the Canadian music biz. Glad I got to know him and learn from him at A&M.''
Steve Kane: ''Sad news.A true legend and gentleman.''Gene Valaitis (Q-107): ''JP was a class act. And did anything and everything for his artists and label. I was at Q-107 when he chained himself to the front door to get Lou and Macko make an add or he wouldn't leave. He ending up winning. RIP.'''
Bill Ott (A&M Canada), to Billboard Canada: "I first met J.P. Guilbert in 1975, when I was asked to run the A&M Eastern Region in Montreal. One of my first experiences of J.P’s love of celebrating our artists came, when Gino Vannelli was in concert at Montreal’s Place Des Arts. It was a huge success… As the concert was coming to an end J.P. suggested we invite Gino, the group and family for a post concert celebration, at a hotel lounge close to the concert hall. I thought it was a great idea.''
''After a few calls we secured a Penthouse Lounge and I went to have it quickly arranged…As we were sitting in the lounge awaiting our guests, the elevator doors kept opening and we ended up with around one hundred guests. I knew then , J.P. was a player..
'J.P. was one of the greatest music industry promotion people in an era when “Music” and the people who were creating it, recording it, promoting it , marketing it and selling it, was at its peak.J.P. was unique in his approach and his style, from his determination and persistence in working a Record / Song. In our team meetings he played a major role in establishing points of attack from a Radio / Media standpoint for the team to exploit, which helped in placement and success of our music.
''J.P. was loved by our artist community, because he genuinely built a relationship with them and often became close friends Although J.P. was retired from the industry for many years, his unique style and friendships continue to remind us of the success and fun he brought to the game.RIP J.P.''
Don Rodgers, Calgary and Eastern Canada promotion, to Billboard Canada: ''One of the things JP taught me was that some things that happen, happen for a reason. One of those things was meeting JP at the offices on Warden Avenue in Toronto. It was a pivotal moment in my life. About a month later, I ran into him at the baggage area at Toronto airport. He was there meeting Lorna who had come in on a flight as well. Recognizing him, I went over.
''He told me then he had been trying to contact me about a job as a rep for the company in Halifax. Well, I got the job. So JP, it happened for a reason and I owe you a world of thanks for that break. He came out to Halifax to show me the promotion ropes, which was basically convincing people to say yes to my requests. That part was easy but accepting 'no' was the challenge. JP taught me patience.
''There are just so many great JP stories but the one I always liked best was when JP and I were out for lunch with a radio station in Saskatoon. Someone mentioned that Pursuit of Happiness was playing that night. JP got excited and said he loved Pursuit of Happiness. Everyone broke out laughing and he looked puzzled. Well, given his Quebecois accent it came across as 'I love Pursuit of a Penis'''
''JP, you were a star, a shining light to rookies like me, and I know you taught many of us A&M promo guys a lot and all of us could tip our collective hat to you. Cast that line, drink that wine JP. You earned it my friend.''
Dave Charles: ''We lost a really great music man. Over many years JP Guilbert helped put A & M Canada on the global music map. RIP my dear friend. Love to your soul mate Lorna Richards. You will be greatly missed. Love always! DC.''
International
Glen Hansard, the Oscar-winning Irish singer-songwriter and leader of The Frames and folk duo Swell Season died in a motorcycle crash near his Dublin home, on July 29, at age 56.
A Billboard obituary notes that Hansard ''was the singer who won the Oscar for best original song for 'Falling Slowly' from the 2007 musical drama Once, which co-starred Hansard and his Swell Season bandmate and co-writer Markéta Irglová as a pair of struggling musicians finding their way in Dublin. The duo composed and performed all the film’s original songs.''
''The Dublin born Hansard started his career at 13, when he dropped out of school and started busking on the streets of his hometown. After five years of plying his trade, his demo made its way to Island Records, which signed the young singer, who promptly formed a band, The Frames, and began work on their debut album, 1992’s Another Love Song.
''While awaiting the LP’s release, Hansard scored a role in the hit 1991 musical drama The Commitments, which was based on the 1987 novel by Roddy Doyle and directed by Alan Parker (Pink Floyd — The Wall, Mississippi Burning) and told the story of a scrappy group of working-class Irish kids who form a soul band.
Hansard then released a series of albums with the Frames, including 1995’s Fitzcarraldo, 1999’s Dance with the Devil, 2001’s For the Birds and 2002’s Breadcrumb Trail, all showcasing his warm, yearning voice and evocative and heartstring-pulling lyrics.
A Guardian obituary traces the origins of Once, noting that ''after Swell Season's self-titled debut album was released in 2006, the pair were approached by the director John Carney, who had played bass for the Frames until 1993 and directed some of their videos, to star in his feature film Once, playing struggling musicians who fall in love. They agreed, and also provided the soundtrack for what became a widely successful film, though it had been shot on a shoestring budget.
''Hansard and Irglová became romantic partners on and off the screen, continuing to work together once the relationship had ended. They toured together and released two more albums, Strict Joy (2009) and Forward (2025).''
Hansard continued to release albums with The Frames through 2006’s The Cost, before focusing on his solo material, beginning with his first true solo album, 2012’s Rhythm and Repose.
Further exposure came via a cover of Bob Dylan’s “You Ain’t Goin’ Nowhere” for the biographical 2007 film I’m Not There, and when his song “Take the Heartland” appeared on the soundtrack to the hit 2012 adaptation of The Hunger Games. He formed a friendship with Pearl Jam singer Eddie Vedder, opening for the rocker on his 2011 solo tour and joining Vedder’s solo band Earthlings.
He released four more solo albums in the 2000s, including 2015’s Didn’t He Ramble, 2018’s Between Two Shores, 2019’s This Wild Willing and 2023’s All That Was East Is West of Me Now.
A public wake was held for Hansard in Dublin on Aug, 3, with an estimated 11,000 fans attending. His funeral takes place at St Patrick's Cathedral in Dublin city centre on Aug. 4. Music at the funeral will be provided by Hansard's friends and family.
Upon news of his passing, tributes quickly poured in from Canadian music industry types who had worked with Hansard as well as from musical peers who deeply respected his work.
Tonni Maruyama, head of Hansard's Canadian label Anti-, worked extensively with him. Her Facebook tribute reads: ''20 years. The Frames, Swell Season, solo albums. 20 years of working with this generous soul, incredible storyteller and amazing musician. He was truly authentic and unforgettable.
''I remember an invite only promo performance I set up at Toronto's The Great Hall to celebrate the 2012 album Rhythm and Repose. Glen was flying in from New York and he was very late. We all waited patiently (except me who was trying to get updates from management about the lateness of his flight). But it was all worth the wait, he came bounding into the room wearing his orange toque and carrying his guitar (the one he was never without, holes and all), immediately got in front of the audience and said in his charming Irish accent 'sorry I'm so late, I was out drinking with Bono last night and I didn't make it in time to catch my flight.'
''That, my friends, was Glen. The crowd laughed and cheered, then he went right into his set. You adored him, he could do no wrong and if he did you never felt it was on purpose. He was living an exceptional life and he took you on his journey. He was legend and will be missed.'''
Toronto-based concert promoters We Are In The Future produced many Hansard shows and they posted this Instagram tribute: ''Glen Hansard was a once in a lifetime musician that we were privileged to work with over many years and many musical projects. Thank you Glen for all the great music and amazing performances, you will be missed. Our thoughts are with his family, friends and colleagues. RIP.''
Acclaimed Toronto singer-songwriter Peter Katz was first a fan, then a friend of Hansard. He posted an eloquent Facebook tribute that begins: ''We sat together in a booth at the Drake Hotel in Toronto, just the two of us, as he read me passages from Leonard Cohen's writing. Marvelling at the crafting of the words, the meaning and the mystery of them existing at all.
''Glen Hansard was a true artist. He was in love with music, but not just music for music's sake, it was so much bigger than that. It was experiential, transcendent, a transmission.It was about what happens when words and melodies are played, together in a room, with people.
'The experience of his music was always best served live, in the room with him, and every night was different because he was always in the moment with you.He was never running through a setlist. He was building moments with curiosity, wonder and openness to what the universe had on offer that night.''
''In 2004, when I first met him, I was one of the people that got pulled into that specialness in a way that would shape the entire course of my life.He and his band The Frames were opening for Damien Rice at Convocation Hall in Toronto. And, over the span of a thirty-minute set, he lit my entire soul on fire. ''
''As I had the privilege of getting to know him and playing together over the years, he gave me the gift of how to be with people. He didn't put himself on a pedestal out of reach, playing the aloof rock star. He was consistently kind, warm, welcoming, inclusive, and always ready to pull a young songwriter or fan up onstage to create a moment together.
''I've never been one to idolize rock stars or famous people because I know they're just people. But…I did have one hero, one person who was my beacon, and I can't believe he's gone.I lay in bed and wept this morning, having flashbacks of all the moments that he gifted me and that I got to share with others. His generosity, his spontaneity, his ability to recite song lyrics like sacred texts, the constant glimmer in his eyes.
''The way he walked out on stage at the Wolf Trap Amphitheatre in Virginia last summer, before I played my opening set, and sang an a cappella song, so he could get 5,000 people to be quiet and listen to a songwriter they didn't know and then spent two minutes introducing me so generously to seal the deal. Glen was my one musical hero, but more than that he was my friend. Glen, you changed my life, you helped me see that I was an artist, and I will never, ever forget you and I will forever honour you in how I live my life.'
Kavinsky (born Vincent Belorgey), a French music DJ and producer known for Drive soundtrack hit ''Nightcall,'' died on July 28, at age 50. A police source speaking to French newspaper Le Figaro indicated that the suspected cause of death was a stroke.
In its obituary, The Guardian reports that 'Belorgey was part of the rich electronic music scene in France that flourished in the wake of Daft Punk and others. He earned so much acclaim for 'Nightcall' that he ended up performing it at the closing ceremony of the Olympic Games in Paris in 2024, backed by the French band Phoenix and Belgian pop singer Angèle on vocals.
''Born in Paris, Belorgey’s music career took off in the mid-00s. The high-energy electro of his debut single 'Testarossa Autodrive' meant it dovetailed with the 'blog house”'scene that had also spawned French artists such as Justice and SebastiAn, and he was signed to the label Record Makers, with whom he released five EPs and two albums.''
A Pitchfork obituary observes that ''Kavinsky parlayed the success of Drive into an international career. He released Outrun, containing some of his older hits and billed as his debut studio album, in 2013, using a concept that riffed on the neon aesthetics, ’80s synths, and vintage car fetishism of Drive and his alter-ego. After touring the LP, he took a break from music before returning with Reborn in 2022.''
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