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Open Horizon - first review!

Hey look! It's a review of my almost-released new record, thanks to the lovely Rachel Sanders at Exclaim.ca!


(More news--such as how to get a hold of this baby for yourself--to follow soon!)


Kaya Fraser
Open Horizon
By Rachel Sanders

With jazzy interludes and melt-in-her-mouth vocals, Kaya Fraser's first full-length release is a journey of considerable emotional range. Daughter to Canadian songwriter Allan Fraser (of '70s psych folk duo Fraser and DeBolt), the Victoria, BC-based musician has built upon the foundations she laid with her 2007 EP, the elegant Tremor and Slip. With Open Horizon, she offers a diverse collection of songs that explore passion of every variety, from the blissfully upbeat "Good To Be Home" to the achingly brief and emotionally wrenching "A Hundred Days." Other highlights include the banjo-licked "Made To Mend" and the brooding, Al Purdy-inspired "Cariboo Horses," which highlights Fraser's rich voice and her ability to create vivid moods within her songs. Produced by one-time Blue Rodeo guitarist Kim Deschamps (who also contributes pedal steel, dobro and banjo), the album flirts with soul and blues, jazz and country, but ultimately, hangs together as a beautifully cohesive and promising debut. (Independent)

 

On the Horizon...

 Wow, it HAS been a while since I've blogged. My apologies. I've been updating Facebook and tweeting, etc., but I'll try to distill it here.


My second record, Open Horizon, is just about made. The music part of it, at least. In early January I flew out to Ontario to work at a wonderful studio south of Hamilton, on the Six Nation reserve, called Jukasa. Check it out:


This studio is a brand new, multi-million dollar facility; I don't know much about gear, but I thought it was a good sign that they have the SSL mixing console from Abbey Road studios (you know, the one that recorded that record by those guys?). Pretty incredible. Anyhow, I can't recommend this studio and the people who run it enough. They were all so incredibly kind and helpful. A special shout-out needs to go to Sean Gugula, who did a fantastic job engineering the whole thing. First Nations rock star Derek Miller, who is kind of the artist-in-residence at the studio, was also extremely nice and generous in lending us some of his gorgeous guitars for the sessions (I still have dreams about that Gibson). His music, by the way, is excellent: watch for his new album this year.

Anyway, the studio was GREAT and of course, I had a pretty phenomenal team working for me. First of all, my producer Kim Deschamps, who is not only an astounding musician, but also a really really nice guy. I was also lucky enough to have the incredible Al Cross playing drums for me, and Paul Intson playing a gorgeous upright bass. Those two are also really really nice guys. These three men were my whole band, and man, it worked. There is a very live feel to the tunes, since most of the music was recorded live off the floor, and the musicianship all around me was humbling in the extreme. We worked well and FAST, but it was also fun and friendly; it was such a pleasant experience. 

Paul mixed the record with Kim's input, and Paul is also mastering it. It's just about done as we speak; we're just working out the sequence of the eleven tracks. However, the artwork and manufacturing still needs to get done, so I'm afraid you'll have to wait a little longer before you all arrange your listening parties: I'm hoping for a March release date. Stay tuned.

It was a new experience on many levels, not least of which was that it took comparatively long to put this album into existence. I wrote the songs mostly about two years ago, and then it was a long process of working out the means to this end. But with the help of a lot of people, it finally happened. I have to say, it's not like having a baby, which is the simile most people use (not that I know what that's like, yet, but whatever). Babies don't take two years to make. Babies are not an archive of your own hopes and loves and devastations, etc. etc. etc. Babies are not art. I don't know what it's most like, but what I do know is that it's both ridiculously hard and ridiculously fun. There were moments (many) when I thought: why am I doing this? I'm never going to try to conceal that. But then, when it's happening, all I could think was, I'm so glad I'm doing this. I realized that not knowing whether it will be worth it is part of the joy of the experience. You don't know what this thing is going to do, out there in the world, once it's made (okay, maybe that part *is* like having kids). You can't control it. So you just try to make it strong, try to give it integrity, so that it can maybe weather it out there. Kind of like trying to make a really good boat, and then floating it out on the tide.

But I'll tell you one thing that makes this feel worthwhile. A friend of mine has a daughter in her teens, and this daughter is a big fan of my first record. She just got her first guitar this Christmas, and she wants to learn "The Stars" so that she can play it at her school's coffeehouse. You see, that girl was me, except with a different song, about 15 years ago. It makes my heart glow that something I made is making someone pick up a guitar, learn a song, and go sing it for people. If nothing else comes of this thing that I do, that simple fact is really recompense enough.

Much love and gratitude,
Kaya

 

Seeds of Love: Sown

How to sum up this past weekend... It was one of those crazy limbs that one goes out on when they appear out of nowhere, and the whole time you're wondering whether it's a good idea or not, but in the end you're glad because hey, at least it's a good story.

Actually it was more than a good story: it was great. My husband and I went from Victoria to Seattle on the Clipper, which is known, in the technical nautical jargon, as a Really Fast Boat. Because we were somewhat delayed by a customs snafu on the departure end, they had a sale onboard--drinks (including our favourite Washington state wine) for $1.50 each!! I was sad that I could only have one glass with the show coming up that evening, and was not surprised that the passengers were getting more and more boisterous the closer we got to Seattle. Anyway, we pulled into the harbour, everything dazzlingly sunny, and went to have a delicious lunch/dinner at Ivar's before checking into our hotel and, promptly, embarking on our journey to Woodinville, where the show was happening.

Perhaps not promptly enough, though. As faithful readers of this blog will remember, I don't drive, and neither does my husband. Where we grew up (Montreal and Victoria, respectively) it wasn't necessary, so we just never got around to it. However, in some places it IS necessary, and we learned the hard way that suburban Seattle is one of these places. But we were travelling on a limited (read: nonexistent) budget, so we had figured out how to get to the winery by public transit, at least on the way there, since the cab fare would be outrageous enough to get back to the city after the show. Thrifty, yes. But it took SO EFFING LONG to get out of the city in the afternoon traffic, and then when we finally arrived, we were on a country road, without much idea where we were (thanks, Google maps) and about 20 minutes to go before the show starts. You know it's a bad sign when you are trying to figure out directions based on the position of the sun. Dear reader, I was near tears.

My darling husband, however, saved the day, keeping me calm and using his preternatural sense of direction to lead us to the Chateau Ste Michelle. A twenty minute hike got us there, sweaty but intact; we were hurried backstage by the security people, I met Michael and apologized profusely, promising that I would sing his song right even though we'd never rehearsed it. He is a very nice man and seemed more relieved than anything else (I could almost see the words "what have I done" etched in his face). I drank two bottles of water, and it was showtime.

The stage was huge, set up in the middle of a beautiful field, already populated by more people than I'd ever played for. Some were on folding chairs, but most were on blankets or their own lawn furniture, drinking the chateau's wine (for sale onsite, of course) and waiting to hear how everybody wants to rule the world.

Mike went on, just him and his guitar, and started his set. A great, easy stage presence, with a good sense of humour, he was the perfect opener. His songs are melodic with more than a hint of Beatlesy sensibility in their hooky chord progressions. Oh, and can he ever sing. I understood immediately why he was chosen to sing backups for the main act. Remarkable.

So he starts introducing our duet, explaining to the crowd that I'd just arrived and that we'd never rehearsed this, but here we go! The crowd was delightful. I was greeted onstage by yells of "GO KAYA!" from the front rows. Who are these people? Were they planted to make me feel good? Either way, I am flattered and pleased. I sing the song. I have no monitor and it's very tricky to hear what I'm doing through the enormous speakers pointing out into a field, but I think I'm singing the right notes. Either way, it happens. And people start cheering while I begin to sing. A lot of people! Now, if you've never experienced this (it was a first for me), let me tell you: it is the reason why people get on a stage. My whole soul smiled.

Almost immediately, it's over and Mike is hugging me, obviously pleased and even more relieved. I take a bow and walk offstage during the (to my ears) very loud applause. As Sean and I are heading to the wine tent to get some hard-earned libations, people are complimenting me left and right. As we go to take our seats in the crowd, a small round of applause even breaks out. I want to laugh out loud, but am so grateful. Have I ever mentioned how NICE Americans can be?

The rest of the concert was just plain fun: Tears for Fears put on a GREAT live show and their songs have so much more substance to them than you might think, if you're snobbish about number one pop hits. There's real musicianship in them. Anyway, we had a great time, hung out briefly afterward in the after-show lounge, although alas, we didn't get a chance to meet the guys. I imagine, since this was the first show on the tour, that they were exhausted, and don't hold it against them in the least. We, too, were exhausted. We called a cab, and eventually (i.e., after about an hour's wait and another 40 minutes' drive) we staggered into our modest hotel room, drank some water, and immediately fell asleep. Rawk 'n roooollll!

The next day was spent being touristy in Seattle, which is a city I have decided I could easily live in. But I won't bore you with those details. And then we came home on the Really Fast Boat. The End.

I can't thank Michael Wainwright enough for taking a chance on me. This was one of the oddest yet most rewarding things I've done in my still-young music career. And my thanks, too, to my friend Abby for hooking me up with the opportunity. It's worth it to go out on these limbs, I believe, when you can. One never knows what the experience will lead to. And hey, at very least, it will make a good story.

Love,
Kaya

 

 

Sharing the stage with Tears for Fears!

Woah, long time no blog. I guess things have been pretty quiet through June, but July is looking to be rather eventful indeed... Islands Folk Fest, a few gigs, recording with Allison Brown, and now, a rather random but fun opportunity that has just emerged, thanks to my friend Abby and her networking skills.

She alerted me to an opportunity being offered by a friend of hers, musician

Michael Wainwright,

who is opening for Tears for Fears on their west coast tour this month. See, Michael has a beautiful song called "Someone Like You" that is a male-female duet, so in each city he and TFF visit, he wanted to get a local female singer to do a guest appearance on the song. So, I auditioned to offer my services for the show just outside Seattle, and hey, I got the gig!

Many, many thanks to Abby and Michael for this wonderful opportunity for exposure and fun! I'm pretty darn excited. Also, I've never been to Seattle before, so I'm extra psyched. Oh, and I get to hang out backstage with Tears for Fears.

Yeah yeah!

Love,

Kaya

 

Kaya on Twitter!

Hey all you Tweeters! After a long resistance, I finally decided to see what all this Twittering was about. So, I am here:

http://twitter.com/kayafraser

Still figuring it out, but I'd love to get some followers...

Love,

Kaya

 

Great; not good

I've decided to quote in reverse some blogger's comment about "Tremor and Slip" (which was that it was "good; not great"--ah the damnation of faint praise!) in order to describe how I'm feeling about things these days. You see, it was my birthday yesterday; I turned 29. Don't worry: I am not having one of those what-does-it-all-mean moments. No, not in the least. I am quite content, in fact.

 

I played a show on Friday with Jamie Carrick that was so nice, you should have been there. He is a wonderful singer-songwriter who came as a lovely surprise, and for some reason our little songwriter-circle show just clicked. We sang Cohen's "Hallelujah" at the end--and yes, I had to apologize long and hard to the universe for giving that poor song yet another rendition, but dammit it's a great tune--and it worked. I don't know quite what it was about the show, but it left me with that lovely feeling of reassurance that yes, I do know why I'm doing all this. When that happens, I ask no further questions, and thank the powers that be. (Oh and if you are a folk-ish musician who wants to play in Victoria, please contact the folks at the Banyan Tree music series, because this initiative deserves all the attention it can get: http://www.victoriafolkmusic.ca/banyantree.html)

 

Then I had a visit from a dear old friend, and a gorgeous birthday full of tender springtime sunshine and leisure.

 

So, I have no new songs to give you, but I do have a calm determination that, things being the way they are, the record will get made and things will continue to grow, even if slowly. Nothing on my tongue but hallelujah.

 

Love,

 

Kaya

 

New demo mixes, feat. Kim Deschamps

Perhaps you've noticed that I posted a couple of new demo mixes up on MySpace. They are "Open Horizon" and "Cariboo Horses," the versions I recorded at the award-winning studio Willyboy Recordings in London, Ont. ... except now they have been overdubbed and tweaked a bit by my current producer, Kim Deschamps.

For those who don't know Kim, check out this tune, from one of the best albums of Canadiana music ever released, i.m.h.o., Five Days in July. It's called "Hasn't Hit Me Yet," and at about 3:10 or so one of the most beautiful pedal steel solos begins:

http://www.youtube.com/watch?v=crfpN3n8lR0

I could sing you every note of that solo, I listened to it so often. That's Kim. And somehow, he's working with me now... So check out what he did with these two tunes. They're not the final product, but I think they're not too shabby, not too shabby at all.

http://www.myspace.com/kayafraser

I've decided that this album is getting made by the end of this year, come hell or highwater. So get ready.

Love,
Kaya

 

Listen

The album, Tremor and Slip, is out! Check out the tracks below and buy a copy today!

Buy Now!

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The Only Exception

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Home Remedy

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Tremor and Slip

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