I like to think that today, the Bordens would have a MySpace page (maintained by youngest son Gary) and hold variety show podcasts from their rec room. And their "Friends" would mostly be older son Roger's high school classmates, who leave comments like, "OMG!!! saw you at the legion hall in trenton...u rawk" and "when r u coming back to dryden?"
And then one day they would get namechecked on CBC Radio 3 and discover they've been elevated to cult status by indie electropop bands. "I don't know who these Holy, er, Fudge boys are," Mrs. Borden would say over the phone to her sister in Kamloops. "But they sent us some nice e-mails."
You wouldn't think it if you heard a recording, but in person he's unbelievably spry, charming, and always looks like he's having a great time. I first saw him at Jazz Lives, the now-annual Jazz FM fundraiser, in 2005. We had seats in the back row of the furthest balcony in Convocation Hall, and we could still see his bushy white eyebrows and the shiny brass buttons of his jacket. He only played one number, but if that had been the whole show it would've been worth the price of admission.
We saw him again at Jazz Lives in 2006, and this time we were so close to the stage we could see his name on his vibraphone. Last night at the Harbourfront Centre we weren't quite that close, but we still had a great view from the side balcony despite the box office attendant's trepidations that the seats weren't that great. Awkward, yes, but just the right angle for seeing the great man in action.
Our unique view raised some questions, though. What was the difference between mallets other than the colours of their heads? Why did he sometimes seem to pause and change his mind about mallet choice? And how long did it take him to perfect the technique of playing with three mallets at once?
Everything he played was a sheer delight, but the highlight for me was the liveliest version of Cole Porter's "Love For Sale" I've ever heard. Normally it's a dull, dragging, plaintive dirge that makes me want to poke my eyes out. Mr. Appleyard turned it into a fast-paced, sparkling confection with a hint of calypso.
My only complaint was that there should've been more vibraphone. There was plenty, but the show could've been called "Peter Appleyard and Friends" as he brought on a couple of guest soloists (a saxophone player and a vocalist) and he let his rhythm section shine without him on several occasions. (The upright bass player even got to take the lead near the end, performing "Our Love is Here to Stay" with support from the guitar and drums.) They were all stellar professionals, and normally I would have been happy to see them play. I just like Peter Appleyard that much.
Up in the wee hours of the morning with the nasty cold that's been making the rounds in the city. Even Andy Barrie has it. What's a girl to do besides make herself a cup of tea and post the ever-growing list of bands she keeps meaning to check out?
If I post mP3s, they will only be available until they drop off the home page. But if you own the rights to any of these songs and want them removed sooner, let me know at bebe.beijing[at]gmail.com.
