tag:www.halfwaytree.ca,2005:/blogs/pandemonium?p=5Pandemonium2023-12-10T16:46:33-04:00Andru Branch & Halfway Treefalsetag:www.halfwaytree.ca,2005:Post/73173282023-12-10T16:46:33-04:002023-12-10T16:46:58-04:00Bernie Pitters November 5, 1955 - December 9, 2023<p style="text-align:justify;">Among the challenges that come with getting older is that our elders continue to grow older too. With each revolution around the sun there is more likelihood that we will lose another dear friend who has had some profound influence on us as individuals. One such inspiration was legendary keyboard player Bernie Pitters, who passed away yesterday due to complications from a long battle with diabetes. “Bernie P” was like a Godfather to the reggae music fraternity in Canada. A cornerstone of Toronto’s Livestock and Hit Squad bands, who backed up virtually every major Jamaican artist to appear in the city, I used to marvel at Bernie’s unique style and unparalleled showmanship as a teenager, wondering “how can this cat be so cool”?! His stage presence was truly a spectacle to behold. I went on to embrace Bernie’s guidance and tutelage as a young adult, and I was both thrilled and honoured when Bernie P began sitting in with my group Halfway Tree in the late 90s, in Toronto and also when I moved to Halifax in the 2000s. </p><p style="text-align:justify;"><img src="//d10j3mvrs1suex.cloudfront.net/s:bzglfiles/u/442553/b2fe71bf618a90638d476afa69f51ae8c23cbd6d/original/bernie.jpg/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==" class="size_l justify_left border_" />Bernie was a true heavyweight when it came to playing rub a dub music. Renowned Jamaican studio engineer, producer and musician Stephen Stewart explained to me once that he and Bernie used to race to their high school piano at lunch hour to see who could get to the piano bench first to impress the girls on their lunch break. Building on what he learned studying with legendary Jamaican keyboardist Jackie Mittoo after moving to Toronto in the 70s, Bernie developed a unique creative style as he “bubbled" and “shuffled” alongside Garry Lowe on bass, Tony Campbell on guitar and Tony “Raffa Dean” White on drums, all of whom have passed on to the other side.</p><p style="text-align:justify;">After years of playing professionally, the hard core musician’s lifestyle began to take a toll on Bernie, and he developed severe diabetes, claiming both his sight and eventually a foot. I was honoured to have been able to offer Bernie nutritional guidance after graduating from holistic nutrition school in 2011, but of course diabetes can take a dreadful toll, as it did yesterday.</p><p style="text-align:justify;">Bernie will leave an indelible mark in the hearts of those who had the great fortune to know him and his music will live on in the countless recordings he has blessed us with. While it may sound like a cliche to some, Bernie’s enthusiastic way of saying “ya mon” will ring in my ears itinually, as will his soft tone when he loved how something sounded: “wic-ked”! It is with profound Love for his strong, gentle and kind soul and with deep gratitude that I say goodbye to this dear friend and life-long mentor who will continue to live on in I & I music.</p><p>“It brings great joy to share such sweet togetherness.” ~ Bob Marley</p>6:45Andru Branch & Halfway Treetag:www.halfwaytree.ca,2005:Post/70368222022-08-12T18:13:03-03:002023-10-16T11:57:41-03:00Jamaican Independence Day 2022<p>We are grateful and humbled by this response to Halfway Tree's performance at this year's 60th anniversary of Jamaican Independence in Nova Scotia: "Your performance was exceptionally joyful and invigorating. The wonderful energy of your musical talents inspired and encouraged our spirits, our hearts and our minds. You gave our hearts wings to soar to new heights above the challenges of life, letting us feel joy and gratitude once more." ~ Jamaican Canadian Association of Nova Scotia<img src="//d10j3mvrs1suex.cloudfront.net/u/442553/90aecb136802f9e8cdcd23c38c0b8fff2e163d8d/original/images.jpg/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==/b:W10=.jpg" class="size_l justify_center border_" /></p>Andru Branch & Halfway Treetag:www.halfwaytree.ca,2005:Post/68171742021-11-21T15:37:02-04:002023-12-10T12:33:32-04:00Alvin "Seeco" Patterson, December 30, 1930 - November 1, 2021<p><img src="//d10j3mvrs1suex.cloudfront.net/u/442553/ae03fd2a1402290e102aad1b1b3ede84330ecb36/original/seeco-bob-andru.jpg/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==/b:W10=.jpg" class="size_l justify_center border_" />Some people come into your life when you least expect it, and like a partner or a best friend, you could never have imagined that they would have such a profound and lasting influence on your life. For the past 25 years, nearly half my lifetime, one such person was Franciso "Alvin 'Seeco' Patterson" Willie. </p>
<p>Niels Peter Blake offered me my first recording contract at Kingston Muzik Studio on Garden Boulevard back in 1996. Little did I know that The Wailers' legendary percussionist lived only a few doors down the street.</p>
<p>I started studying music at an early age, first recorder, then saxophone and piano, but it was through listening to Seeco's creative and innovative style that I developed a profound love of playing percussion. I never dreamt that I would eventually play alongside one of my heroes, exchanging licks in his signature question and answer style. It goes without saying that Seeco's percussion will live forever in Bob Marley & The Wailers' music, but it is especially dear to me that his playing will live eternally on my first two albums. </p>
<p>But our connection grew deeper than this. Over the course of 25 years, Seeco always welcomed me into his home, where we laughed and joked and shared in each others' joys and sorrows. He was always ready to watch a football match, but equally ready to pick me up when I was feeling discouraged. His family will attest to his faisty side, but all the while he was a kind and loving soul. Soft, yet strong, he was a true bredren who, like a grandfather, became like family to me. </p>
<p>Beloved Seeco - the countless hours spent with you have brought some of the greatest joys of my life, and it is truly an honour and a privilege to call you my friend. I Love you and I am eternally grateful for the warmth and generosity of spirit you shared with us all. Rest now in eternal Power.</p>Andru Branch & Halfway Treetag:www.halfwaytree.ca,2005:Post/67510702021-09-19T09:18:31-03:002021-09-19T09:18:31-03:00Johnny Parker<p><strong>John Parker, guitarist/producer:</strong> Combining technical ability with style, John is a consummate professional guitarist. With over 20 years of touring experience, Parker has been managing Halifax’s Long & McQuade for 12 years, where he offers a working knowledge of the latest gear and technical expertise in both live and studio recording. In addition to recording, mixing and mastering projects for dozens of Atlantic Canadian artists including Dave Gunning and Rose Vaughan, John has been co-producing alongside Andru Branch for over a decade, while playing lead guitar with their band Halfway Tree. Photo by Kevin Prinoski.<img src="//d10j3mvrs1suex.cloudfront.net/u/442553/2355f322cf6bb29c33c9bf537e905b69dc41ba92/original/johnny-parker-in-action.jpg/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==/b:W10=.jpg" class="size_l justify_center border_" /></p>Andru Branch & Halfway Treetag:www.halfwaytree.ca,2005:Post/64857012020-11-26T11:57:37-04:002020-11-26T15:07:55-04:00"Keep On Keepin' On" named one of Canada's Essential Reggae Tracks<p><em>Exclaim! Magazine</em> has published complimentary reviews of my work over the years, but it is validating to know that one of my first ever recorded songs has been named one of "Canada's Essential Reggae Tracks". "Keep On Keepin' On" embodies what it takes to persevere as an artist, and is an attestation to the concept of "less is more". I draw on many years of studying music from an orchestral perspective, and I take pride in the sometimes elaborate polyphony of my arrangements. Two and three part horn sections adorn most of my songs, but this track is sparse and I only employed three other musicians, to play drums and guitars. The simple melody repeats: "You've got to deal with Love", which is straight to the point, and the theme of all of my work. This song was the first cut on my "demo tape" back in 1995, which was picked up by <em>Kingston Muzik</em> in 1996, and kicked off my Juno-nominated debut album <em>What If I Told You</em>, released in 1998. My humble gratitude to <em>Exclaim! Magazine</em> for your continued support. Respect due to all my mentors over the years, too many to mention, but my eternal Love lives on for Raffa Dean and Jah D with thanks for lifting up this track with your skilled musicianship. Now I must return to the studio to continue the work in these turbulent times. <a contents="Keep On Keepin' On" data-link-label="" data-link-type="track" href="/track/2228162/keep-on-keepin-on">Keep On Keepin' On</a> my people ~ Andru </p>
<p>Drums: Tony “Raffa Dean” White <br>Lead guitar: Ras Kawintseb Sellassie <br>Rhythm guitar: Derrick “Jah D” Lambert <br>Vocals, keyboards and percussion: Andru Branch </p>
<p>Recorded at Number 9 Sound, Toronto, Ontario, Canada.</p>
<p>Engineered by Jim Zolis and Terrance Lee.</p>
<p>Mixed by Paul Hussey and Otto Lee Wilson at Kingston Muzik Studio, Jamaica.</p>
<p>Mastered by Noah Mintz.</p>
<p>Produced by Andru Branch.</p>Andru Branch & Halfway Treetag:www.halfwaytree.ca,2005:Post/64659152020-10-29T15:26:22-03:002020-10-29T15:38:47-03:00Power To The People<p>As we continue to celebrate the 25th Anniversary of our band Halfway Tree since its creation in 1995, we wish to thank you for your continued support. 2020 has been tumultuous year, but we are doing our best to keep releasing new music and putting out positive vibrations. </p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/442553/717e17ea88afd71cb1c72c74c051179c0098e5d4/original/can-am-2.jpg/!!/undefined/b:W1sic2l6ZSIsInNtYWxsIl1d.jpg" class="size_s justify_left border_" />Please accept our brand new single “<a contents="Power To The People" data-link-label="" data-link-type="track" href="/track/2516413/power-to-the-people">Power To The People</a>” as our gift to you, our fans, in hopes that it may provide some inspiration leading up to the US election. The song is a reminder that the outcome of the presidential election will have resounding socio-economic effects far beyond the US borders. Recorded, mixed and mastered within 24 hours at our home studio in Halifax, Nova Scotia, Andru Branch & Halfway Tree continue to advocate for equal rights and social justice. These are turbulent times but fortunately we have music to soothe the soul. We invite you to visit our website, where you can hear music, see videos, read our story and download music. Watch the video: <a contents="https://youtu.be/EHkDbT6M27c" data-link-label="" data-link-type="url" href="https://youtu.be/EHkDbT6M27c">https://youtu.be/EHkDbT6M27c</a></p>
<p>There are many important movements that have led us to this day, not the least of which was the Suffragette Movement, in which women fought the patriarchy and won the right to vote. If you are an American citizen, please exercise your right to vote. This is a crucial time in history/herstory. The future of the United States and indeed the political-socio-economic landscape of the world is in peril. Please do what you can with what you have to affect positive change. We depend on you just as we depend on each other. Out of many, we are one people. The planet we share is in a vulnerable position right now, but we have faith that better will come. The only constant in life is change, after all.</p>
<p style="text-align: center;"><strong>One Universal Love ~ <span style="color:#27ae60;">Andru Branch</span> <span style="color:#f1c40f;">&</span> <span style="color:#c0392b;">Halfway Tree</span></strong></p>Andru Branch & Halfway Treetag:www.halfwaytree.ca,2005:Post/63919602020-07-24T11:55:50-03:002020-07-24T12:07:33-03:00Keep On Keepin' On<p><img src="//d10j3mvrs1suex.cloudfront.net/u/442553/4cf5e78d2cc158657d02d295558e8da4a03e96c0/original/andru-branch-halfway-tree-2020.jpg/!!/b:W10=.jpg" class="size_l justify_center border_" />This is the most recent photo of <strong><span style="color:#27ae60;">Andru Branch</span> <span style="color:#f1c40f;">&</span> <span style="color:#c0392b;">Halfway Tree</span></strong>, shot at the <em>Halifax Public Gardens</em> by Veronica Gutierrez in the fall of 2019. From left to right are <strong>Seth Voliere</strong> (guitar), <strong>James Shaw</strong> (saxophone), <strong>Andrew Brown</strong> (bass), <strong>Andru Branch</strong> (vocals, keyboards and percussion), <strong>Ibiko Pelle</strong> (drums), <strong>Johnny Parker</strong> (guitar) and <strong>Andrew Jackson </strong>(trombone). </p>
<p>It has been such an honour and such a joy to play with these wonderful and talented musicians. We began rehearsing with this lovely young drummer from Antigua, who was studying at <em>Saint Mary's University</em>. He truly lifted up the sound of the band with his super steady groove. We rehearsed a powerful new set of material in preparation for this summer's festival gigs. Enter the pandemic. Slowly but surely, each gig was cancelled, including Halifax's annual <em>Reggae Splash</em>, which we look forward to every year. The day before the gig our beloved 'new' drummer Ibiko boarded a plane to Antigua, to shelter in place with his family. This was hard to take, after rehearsing a show for six months that we never got to perform. However, Ibiko laid down three awesome tracks while he was here with us, two of which are nearing completion, and the third is a work in progress. Please stay tuned as we are super excited to share the new music with you. Join our mailing list to get the latest updates. In the mean time stay safe, listen to some music, watch some videos and play your part to end racism so that we can create a brighter future. </p>
<p>Thank you for your unwavering support over the past 25 years. Our 25th Anniversary album 'The Singles' is available <a contents="here" data-link-label="" data-link-type="album" href="/album/1488502/the-singles">here</a>. Whether you are a new or long time fan, you are so important to us and we are very grateful. Please continue to share I & I music with your friends and loved ones. <strong>One Universal Love ~ <span style="color:#27ae60;">Andru Branch</span> <span style="color:#f1c40f;">&</span> <span style="color:#c0392b;">Halfway Tree</span></strong></p>Andru Branch & Halfway Treetag:www.halfwaytree.ca,2005:Post/63907452020-07-23T11:00:19-03:002020-07-23T15:33:39-03:00Unity is Strength.<p><img src="//d10j3mvrs1suex.cloudfront.net/u/442553/3cddfd2bd9f20c85a5c6e133476ee371c51c92e2/original/halfway-tree-jamaican-independence-day-2018.jpg/!!/b:W10=.jpg" class="size_l justify_center border_" /><strong><span style="color:#27ae60;">Andru Branch</span> <span style="color:#f1c40f;">&</span> <span style="color:#c0392b;">Halfway Tree</span></strong><span style="color:#c0392b;"> </span>are joined by the lovely Jhamiela Smith-Dunn and Kristine Kovacevik on the Halifax Common for the annual Jamaican Independence Day celebration in 2018. Pictured here, from left to right, are <strong>Jhamiela Smith-Dunn</strong> (vocals), <strong>Andrew Brown</strong> (bass), <strong>Myles Cornish</strong> (trumpet), <strong>Teddy Skiffington</strong> (drums), <strong>Johnny Parker</strong> (guitar), <strong>Andru Branch</strong> (vocals, keyboards and percussion), <strong>Andrew Jackson</strong> (trombone) and <strong>Kristine Kovacevik</strong> (vocals).</p>
<p>My lifelong friend Tomaz Jardim introduced me to Earl "Chinna" Smith in 1996, back when we were recording my debut album at <em>Kingston Muzik Studio</em>. Chinna leant his formidable talent to two songs on the album and has welcomed me to his home ever since. His front porch, affectionately known as "Inna De Yard", is a cultural hub that attracts all walks of life from all around the globe, as long as it is in the name of music. Anything else is "fuckery", for which Chinna has little tolerance. I always ensure to bring our mutual friend Seeco down to this mecca at St. Andrew Park for a visit. One of my fondest memories was of a reunion of sorts, where I carried <em>Studio One</em> "bassie" Brian Atkinson down to see Chinna, to great fanfare. The humble <em>Studio One</em> bass player was received with due reverence for his massive contribution to the foundation of reggae music. Joined by several of the many musicians who are present <em>Inna De Yard</em> on any given day, we jammed a whole back catalogue of early reggae hits from back in the day, well into the night.</p>
<p>It was there, <em>Inna De Yard</em>, where I met Chinna's daughter Jhamiela for the first time. She carried herself like an Empress; smooth and confident. Neither of us could have foreseen at the time that we would go on to play together in Canada. I started seeing her around Halifax, on the arm of a skinny, white rocker named Adrian Dunn. From a musical family in Cape Breton, Adrian and Jhamiela eventually got married and formed a reggae outfit she dubbed Jah'Mila. It was a welcome opportunity for me to play my beloved percussion instruments when she invited me to join her group of premiere reggae musicians from around the city, including bass player Alec Frith and saxophonist Sean Weber, who both played with Halfway Tree somewhere along the way. Jah'Mila's growing fanbase has embraced her for her sweet yet commanding vocal prowess, much like her personality. It brings me great joy to support her and to share our musical journey together, contributing to the spiritual upliftment that reggae music brings everywhere it resounds. </p>Andru Branch & Halfway Treetag:www.halfwaytree.ca,2005:Post/63896752020-07-22T11:52:10-03:002020-07-22T17:18:46-03:00Keep On Growing<p><img src="//d10j3mvrs1suex.cloudfront.net/u/442553/55990ee392b5715051fa3c0bc29afbdeaaa4a97a/original/andru-branch-halfway-tree-2017.jpg/!!/b:W10=.jpg" class="size_l justify_center border_" />We are here to learn and grow and our soul purpose is to give and share Love. Through its persistent trials and tribulations, Life continually challenges us to grow. My Mom used to say "the only constant in life is change". This sometimes means having to replace musicians and subsequently adjusting to new band mates. My close pal, co-producer and right hand man Johnny Parker (front right), frequently quips: "Welcome to the way it is." It is a continual reminder to accept change. The ever-evolving lineup may change, but the song remains the same.</p>
<p>I will let this quote from <em>Exclaim! Magazine</em> do the talking for this photo: <em>“The six-piece roots collective pack an authentic punch, an earthy sensibility and an ear for hypnotic dub grooves. They show clear influence from the Wailers, Burning Spear and Lee "Scratch" Perry...Branch and crew nail the technical, spiritual and music elements of an instrumental sound that both entrances and inspires.”</em> Thank you to Niki Davison for this beautiful portrait of <strong><span style="color:#27ae60;">Andru Branch</span> <span style="color:#f1c40f;">&</span> <span style="color:#c0392b;">Halfway Tree</span></strong>, posing in front of the Halifax Common in 2017. From left to right are <strong>Andrew MacKelvie</strong> (saxophone), <strong>Andrew Jackson</strong> (trombone), <strong>Duane Khodra</strong> (rhythm guitar), <strong>Andru Branch</strong> (vocals, keyboards and percussion), <strong>Andrew Brown</strong> (bass), <strong>Johnny Parker </strong>(lead guitar and backing vocals) and <strong>Teddy Skiffington</strong> (drums). </p>Andru Branch & Halfway Treetag:www.halfwaytree.ca,2005:Post/63883612020-07-21T11:07:55-03:002020-07-21T15:14:58-03:00Out standing in his field.<p><img src="//d10j3mvrs1suex.cloudfront.net/u/442553/994355a6e5068d6b8220bd90cea876b6b0b8f253/original/horsemouth-and-andru-2017.jpg/!!/b:W10=.jpg" class="size_l justify_center border_" />I love this photo of <strong>Leroy "Horsemouth" Wallace</strong>, at home in his back yard in the countryside outside of Spanish Town in 2017, where we were shooting footage for the "<a contents="My Jamaican Weed" data-link-label="" data-link-type="url" href="https://youtu.be/akGUfolQe8A">My Jamaican Weed</a>" video. Horsemouth is one of Jamaica's principal foundation drummers, whose raw style and impeccable timing enhanced many recordings. A member of Soul Syndicate band alongside Earl "Chinna" Smith, Leroy has played with countless Jamaican artists, including the honourable Winston Rodney aka Burning Spear. Originally backed by the Soul Brothers band featuring Jackie Mittoo, Brian Atkinson and Joe Isaacs at <em>Studio One </em>in the mid-60s, Burning Spear recruited Horsemouth to play on many of his most beloved recordings, including his signature album <em>Marcus Garvey</em>. </p>Andru Branch & Halfway Treetag:www.halfwaytree.ca,2005:Post/63878762020-07-20T14:20:58-03:002022-05-21T13:50:31-03:00Besties!!!<p><img src="//d10j3mvrs1suex.cloudfront.net/u/442553/084f25adc39b3f6312e35c6e336d0cf6a68703c1/original/seeco-andru-and-brian-2017.jpg/!!/b:W10=.jpg" class="size_l justify_center border_" />Along the path I was able to reunite these foundation reggae musicians, after more than 50 years. On the left is "<strong>Alvin 'Seeco' Patterson</strong>", born Francisco Willie, in Cuba in 1930. He would become Bob Marley's closest friend, and go on to tour the world with Bob Marley & The Wailers on percussion. On the right is <strong>Brian "Bassie" Atkinson </strong>who, alongside keyboard player Jackie Mittoo, co-wrote many of the bass lines that would go on to define the genre. I am proud and honoured to call these reggae pioneers two of my best friends, each of whom had a profound and lasting impact on what we call reggae music today. </p>Andru Branch & Halfway Treetag:www.halfwaytree.ca,2005:Post/63878422020-07-20T10:38:15-03:002022-02-17T09:08:44-04:00One Thing Leads To Another<p><img src="//d10j3mvrs1suex.cloudfront.net/u/442553/8baa61be5cd02682f4a925e82c2154efdd1a8355/original/andru-fams-live-at-harvest-jazz-blues-fest-2013.jpeg/!!/b:W10=.jpg" class="size_l justify_center border_" />Following the <em>Halifax Jazz Festival</em> gig, where Halfway Tree opened for The Wailers, <strong>Aston "Family Man Barrett </strong>invited me to sit in with Bob Marley's world famous band when they returned to perform at the <em>Harvest Jazz and Blues Festival </em>in Fredericton, New Brunswick. It was such a treat to play with such reggae royalty again. Loving his camo shorts over his camo pants!!</p>
<p>From as far back as I can remember I have been motivated by rhythm. My beloved friend Raffa Dean used to invite me on stage to play my growing collection of percussion instruments by his side at Toronto's famous <em>Bamboo Club </em>in the 90s. Playing out of time was not an option. He became a mentor to me and taught me how to play all the many variations of reggae music. Raffa was the backbone of the reggae scene in Toronto, where he played with more bands than you could count. Two of the main bands he commanded were Livestock and Hit Squad, the main backing bands that supported the many Jamaican artists that came to Toronto to perform. Following his lead, I went on to back such reggae legends as Gregory Isaacs and Glen Washington. </p>
<p>Over the years I have had the great fortune to work with many of Jamaica's most celebrated singers and players of instruments, at all of the major Jamaican festivals, including <em>Rebel Salute</em>, <em>Reggae Sumfest,</em> <em>Sting</em> and <em>Reggae Sunsplash</em>, back in the day. Many opportunities were born out of my recording sessions at <em>Kingston Muzik</em>, where I met the SANE Band (Sounds Against Negative Expression). My respect to brothers Joseph and Jeffrey Graham, who welcomed me into the fold, to play and tour with the Warrior Love Band, who have since relocated to Toronto. </p>
<p>For nostalgia's sake, here is a list of some of the Jamaican artists I have had the pleasure to play percussion with over the years: Luciano, Sizzla, Cocoa Tea, Freddie McGregor, Marcia Griffiths, Junior Reid, Richie Spice, Tony Rebel, Queen Ifrica, Jah 9, Shuga, Etana, Gramps Morgan, George Nooks, Christopher Martin, Nature, Fantan Mojah, Bugle, Exco Levi, Warrior King, Natural Black, Wayne Marshall, Vybz Kartel, Sean Paul, Yellowman, Frankie Paul, Everton Blender, The Mighty Diamonds, The Congos, The Heptones, Israel Vibration, Johnny Osbourne, Max Romeo, Admiral Bailey, Edi Fitzroy, Johnny Clarke, Leroy Gibbons, Thriller U, Andrew Tosh, Brinsley Forde and of course, <strong>The Wailers</strong> (above).</p>Andru Branch & Halfway Treetag:www.halfwaytree.ca,2005:Post/63870322020-07-18T20:31:37-03:002020-07-18T20:41:17-03:00Reggae Orchestra<p><img src="//d10j3mvrs1suex.cloudfront.net/u/442553/41c04077f56c6ca512e49243275f658092caaaf4/original/andru-branch-halfway-tree-live-at-halifax-jazz-fest-2013.jpg/!!/b:W10=.jpg" class="size_l justify_center border_" /><strong><span style="color:#27ae60;">Andru Branch</span> <span style="color:#f1c40f;">&</span> <span style="color:#c0392b;">Halfway Tree</span></strong> performed as a ten-piece band at the <em>Halifax Jazz Festival</em> in 2013. We opened for The Wailers on a hot July night with "Somebody That I Used To Know". In the front row, on the left are <strong>Mary-Grace</strong> and <strong>Selah Koile</strong>, whose sisterly vocals have uplifted many of my recordings over the years. Along the back row from left to right are my close friend <strong>Shane Delorey </strong>(repeater drum), my co-producer and right hand man <strong>Johnny Parker</strong> (lead guitar) and <strong>Inti Tzirari Tlatoani Gonzalez Sierra</strong> (funde drum). To my left are long-time drummer <strong>Jerome Thomas</strong>, outstanding reggae bass player <strong>Alec Frith</strong>, who has consistently supported the band over the years, my dear friend <strong>Duane Khodra</strong> (rhythm guitar) and <strong>Shauna DeGruchy</strong> (trombone). Thanks to Mike Phang for the wonderful photo.</p>Andru Branch & Halfway Treetag:www.halfwaytree.ca,2005:Post/63863102020-07-17T11:15:46-03:002020-07-17T11:56:05-03:00Studio Time<p><img src="//d10j3mvrs1suex.cloudfront.net/u/442553/be55cc70b285851de02c4467a66d31d6c95fe3dc/original/andru-mixing.jpg/!!/b:W10=.jpg" class="size_l justify_center border_" />Expensive. Repetitive. Creative. Rewarding. These are some of the adjectives that come to mind with respect to studio time. I spent countless hours in this chair mixing two albums and several singles alongside my friend Christopher Mitchell. Chris took over Halifax's <em>Solar Audio</em>,<em> </em>located on the third floor above present day<em> Long & McQuade, </em>and renamed it <em>Common Ground Studio </em>in 2005.<em> </em>Indeed this is where our lives intersected, with a mutual love of "World music", mixed with a healthy dose of bottom end. Chris is a self-proclaimed "audiophile", a bass player with a profound knowledge of acoustics and electronics and a finely tuned ear. It was such a pleasure to watch him work, almost effortlessly coaxing frequencies in and out, shaping the sound. I was glad to have earned a diploma in sound engineering at <em>Recording Arts Canada</em>, back when it was located in Stoney Creek, Ontario. It meant that I could understand the language of creating a "colour palette" with sound. My Mom was convinced that I was attending sound engineering school to become a studio engineer but really I was there to learn how to make a better record! It's a good thing I wasn't relying on this diploma for employment, since most sound engineering gigs have dried up now that everyone is recording on their home computers. The things I miss most are the SODA double 15" speakers. (Oh, the analogue dubs!) <em>Common Ground</em> had the <em>same</em> speakers I learned to mix on at <em>Kingston Muzik Studio </em>in the late 90s! We would monitor the mix through the NS10s and then when we thought we had it just right we would switch up to the giant, thundering 15" speakers built into the wall. A few tweaks here and there, particularly in the bass and drums, would take us from the living room to the dance club, or in this case, dance hall. Getting the bottom end just right in reggae is important because, well...</p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/442553/9827cb59879846c8d8e2392e51bc5889d71b76fa/original/killasan-sound-system.jpg/!!/b:W10=.jpg" class="size_l justify_center border_" /></p>Andru Branch & Halfway Treetag:www.halfwaytree.ca,2005:Post/63860482020-07-16T13:25:02-03:002022-05-30T04:31:26-03:00Recording "Rocksteady" at Harry J Studio, 2010<p><img src="//d10j3mvrs1suex.cloudfront.net/u/442553/f97420753598779ddae72106f8b7351e45a45b48/original/andru-branch-halfway-tree.jpg/!!/b:W10=.jpg" class="size_l justify_center border_" /><em>Harry J Studio</em> is famous throughout Jamaica for having housed some of the most influential reggae musicians of all time. Before Bob Marley constructed a professional recording studio in his home on Hope Road in Kingston, this was the principal studio at which he and The Wailers recorded some of their most significant work. Gold records adorned the walls inside the studio as a testament to some of this great music. Painted on the wall behind this gathering of wonderful musicians are some of the monumental artists who have recorded here, including Big Youth, Dennis Brown, John Holt, Jacob Miller, Winston Rodney aka Burning Spear and Bunny Wailer. Assembled here, from left to right, is a powerhouse group of some of my closest friends, including three foundation elders who rallied together to record my single "Rocksteady" in 2010. Studio engineer <strong>Sean Tenn</strong> was with me from the start, trained by Bobby Simpson at <em>Kingston Muzik Studio</em>. <strong>Chris "DJ Friendlyness" Hatton</strong><strong>, </strong>who played bass with the original Halfway Tree line-up for the first two years, was a major influence on both my musical and spiritual development as a teenager and beyond. <strong>Alvin "Seeco" Patterson</strong> was Bob Marley's closest friend and my percussion hero, who became a great friend and mentor to me. The virtuosic guitarist <strong>Earl "Chinna" Smith</strong> has played with virtually every significant reggae artist on the planet. And on my far side is rocksteady pioneer, <em>Studio One </em>drummer<em>, </em>Soul Vendor <strong>Joe Isaacs</strong>. Missing from this photo is trombonist <strong>Everald Gayle</strong>, who was there but somehow missed out on this beautiful photo. Have a listen to the product of this session here: "<a contents="Rocksteady" data-link-label="" data-link-type="track" href="/track/2314844/rocksteady">Rocksteady</a>"</p>Andru Branch & Halfway Treetag:www.halfwaytree.ca,2005:Post/63856172020-07-15T12:41:26-03:002020-07-15T15:11:19-03:00Soul Brothers.<p><img src="//d10j3mvrs1suex.cloudfront.net/u/442553/107036aed8bf23f7dc53a6495f89a1174a1fe4aa/original/joe-issacs-brian-atkinson-andru.jpeg/!!/b:W10=.jpg" class="size_l justify_center border_" />When The Skatalites departed Jamaica's legendary <em>Studio One </em>recording studio in the mid sixties, Clement "Coxone" Dodd employed <em>Alpha Boys' School</em> alumni Bobby Ellis to recruit replacement musicians. Pictured here are drummer <strong>Joe Isaacs</strong>, who was 16 when he got the job, and bass player <strong>Brian Atkinson</strong>, who auditioned in 1965, at the age of 19. Brian had only ever played on the "box guitar" that his brother built for him, but since the audition was on bass, he figured he would only have to play the top four strings! The teenaged Jamaican keyboard prodigy Jackie Mittoo would go on to lead the band, but for now he would invite Brian to share his piano bench, showing him how to play this bass line and that. Between the two of them they would shape the sound of reggae music to come. This was at a time when all of Jamaica was dancing to ska music. Joe will tell you that he invented rocksteady, because he couldn't keep up with the tempo set by his predecessor, Lloyd Knibbs. And thus, a slowed down version of ska appeared on the scene that would be dubbed "rocksteady". </p>
<p>This photo, taken in Kingston's Kencot district below Half Way Tree, captures Brian at a time of transition. I had inspired Brian to come out of musical retirement to form the Halifax incarnation of my band by the same name. Unbeknownst to the public, Brian had been driving a Metro Transit bus in Halifax for over 16 years, keeping his beard and hair neatly trimmed. But once he was back in the saddle, he had visions of reuniting the old <em>Studio One</em> band, The Soul Brothers aka Soul Vendors aka Brentford All-Stars. So he showed up at my door one day with a sheepish grin, announcing that he had retired from his bus driver job. He had been in touch with Joe and they had decided to make a go of it. Consequently, he invited me to fly to Miami along with our horn section at the time, Matt Myer and Eric Landry, where we would rehearse a set of <em>Studio One</em> material and line up a "tour". The four of us left for Miami in Brian's minivan on December 3rd, 2004. It was minus 30 degrees when we left Halifax and plus 30 degrees when we arrived two days later. Following two weeks of rehearsal, our five-piece version of The Soul Vendors band flew to Kingston, where we were met by a stretch limo and whisked away to the <em>Pegasus Hotel</em>, where we would play an intimate, lounge-style "homecoming" gig. The event drew some modest media attention but more importantly, a lanky, lone figure whose profile appeared at the lounge entrance. The lead singer (cum incumbent <em>Studio One</em> bass player) of the World famous Heptones had come to see if it was true; if the old <em>Studio One</em> band that had backed his singing trio so many years ago had reappeared in Jamaica after all these years. In a delightful reunion, Leroy Sibbles sang hit after hit with our newly formed reincarnation band. </p>
<p>Sibbles made regular appearances at the Kencot Motel, where we were being put up by the local Don, Eva. The New Year's Eve gig at Eva's strip club was cancelled and it soon became clear that there were no gigs booked for the band. Eric and Matt swiftly departed for the airport in a cab. They had both quit their respective day jobs in Halifax to be here, but no gigs meant no income, and worse, they had lost faith in the "management". I stayed on, in hopes that Brian and Joe could keep it together, and effectively create something from nothing. After some time, with no movement, I too left to reform the Halfway Tree band back in Halifax, recruiting the talents of Alec Frith to fill Brian's massive shoes on bass.</p>
<p>Bo-Peep joined Joe and Brian for a spell on guitar, at the compound in Kencot where they rehearsed, but they only ended up playing a gig or two. Eventually Brian returned to Canada, where he and I made a full-time job of playing music together every day. On one of many subsequent trips to Jamaica several years later, DJ Friendlyness and I picked up Joe in Negril and drove to <em>Harry J Studio</em> in Kingston, where we recorded my original track, aptly entitled "<a contents="Rocksteady" data-link-label="" data-link-type="track" href="/track/2314844/rocksteady">Rocksteady</a>".</p>Andru Branch & Halfway Treetag:www.halfwaytree.ca,2005:Post/63853922020-07-14T11:19:01-03:002020-07-14T11:35:21-03:00Montreal International Reggae Festival<p><img src="//d10j3mvrs1suex.cloudfront.net/u/442553/2b8d27ccebad833548fd7056478e1305c39c35b2/original/andru-branch-halfway-tree-in-montreal.jpg/!!/b:W10=.jpg" class="size_l justify_center border_" />As musicians' lives change, so too does a band's line-up. Martha Kelly stepped in to replace Eric Landry, who began playing full time with Halifax's hardest working band, The Mellotones. Martha earned a degree in classical performance and maintains my favourite reggae tone ever! Heartical soloist Nick Fisher lifted up the sound with his soulful saxophone, plus melodica, which tripped out the band's regular dub sections. And though they are not blood related, brothers Marley and Johnny Parker filled out the guitar section. Pictured here is <strong><span style="color:#27ae60;">Andru Branch</span> <span style="color:#f1c40f;">&</span> <span style="color:#c0392b;">Halfway Tree</span></strong>, waiting for the bus that will escort us to the stage to perform at the <em>Montreal International Reggae Festival</em> in 2007. From left to right are <strong>Johnny Parker </strong>(lead guitar and backing vocals), <strong>Andru Branch</strong> (vocals, keyboards and percussion), <strong>Martha Kelly</strong> (trombone and backing vocals), <strong>Jerome Thomas</strong> (drums), <strong>Nick Fisher</strong> (saxophone, melodica and percussion), <strong>Marley Parker</strong> (rhythm guitar) and the great <strong>Brian "Bassie" Atkinson</strong> (bass). </p>Andru Branch & Halfway Treetag:www.halfwaytree.ca,2005:Post/63844022020-07-13T10:59:09-03:002020-07-14T11:33:19-03:00Halifax, Nova Scotia<p><img src="//d10j3mvrs1suex.cloudfront.net/u/442553/252b2b319edd04436f18990fe6ffd4d4553b5a07/original/andru-branch-halfway-tree-2003.jpeg/!!/b:W10=.jpg" class="size_l justify_center border_" />Although I was able to spend several weeks with her while she underwent diagnostic tests in Halifax, my beloved mother Barbara succumbed to cancer on May 6, 2000. I had given up my job and my apartment in Toronto to be by her side through chemotherapy, and subsequently I left my beloved band behind. After attending her funeral in my home town of Sackville, New Brunswick, in the very chapel in which my parents were wed, I moved to Halifax, Nova Scotia. She was my closest person and I grieved her loss heavily. I began forging a new life, one without my Mom, and without my band. These were sad times for me, but a chance meeting in 2002 led me to the legendary Jamaican bass player, Brian Atkinson. I befriended radio publicist Lynn Horne over a glass of red wine one night at <em>The Velvet Olive</em> in Halifax. After explaining my story, she wondered if I had knowledge of "Bob Marley's original bass player", who lived outside of Halifax. Several of my older Jamaican colleagues back in Toronto had suggested that I look out for this <em>Studio One</em> pioneer when I relocated. Lynn put in a phone call to Brian and lo and behold he showed up at my door one afternoon soon after. We became fast friends and after a little convincing, he picked up his bass again after 16 years. One of my classmates from sound engineering school back in Ontario, Jordan Urquhart, was already living in Halifax, and he seemed game to make some music together. Jordan was in touch with our fellow classmate, guitarist Tyson Spinney, who lived in the Annapolis Valley, about an hour outside of Halifax. Already an enthusiast of my first album, he too seemed game to play along. And so, with a little sensimillia, the Halifax incarnation of Halfway Tree was born. We recruited British-Antiguan drummer Jerome Thomas, who grew up in England during the reggae explosion in the 70s, so he was well versed in the style. We added the crucial horn section of Matt and Eric and backing vocalist, Selah. Pictured here, from left to right, is <strong><span style="color:#27ae60;">Andru Branch</span> <span style="color:#f1c40f;">& </span><span style="color:#c0392b;">Halfway Tree</span></strong><span style="color:#c0392b;"> </span>after an early gig at <em>Planet Pool </em>in Halifax: <strong>Jordan Urquhart</strong> (rhythm guitar), <strong>Jerome Thomas</strong> (drums), <strong>Andru Branch</strong> (vocals, keyboards and percussion), <strong>Brian "Bassie" Atkinson</strong> (bass), <strong>Selah Koile</strong> (backing vocals), <strong>Tyson Spinney</strong> (lead guitar), <strong>Matt Myer</strong> (trumpet) and <strong>Eric Landry</strong> (trombone). </p>Andru Branch & Halfway Treetag:www.halfwaytree.ca,2005:Post/63841702020-07-12T23:59:59-03:002021-01-24T21:03:40-04:00Sad News<p><strong><img src="//d10j3mvrs1suex.cloudfront.net/u/442553/dda441fe8387537ad975cbfefcaed672edd6eb9d/original/andru-branch-halfway-tree-1999.jpeg/!!/b:W10=.jpg" class="size_l justify_center border_" /><span style="color:#27ae60;">Andru Branch</span> <span style="color:#f1c40f;">&</span> <span style="color:#c0392b;">Halfway Tree</span></strong>, 1998. Clockwise, from left to right: <strong>Chris Davey</strong> (rhythm guitar and backing vocals), <strong>Lindell "LA" Allen</strong> (bass), <strong>David Wand </strong>(trumpet), <strong>Kevin Cook </strong>(trombone), <strong>Tomaz "Moose" Jardim</strong> (lead guitar), <strong>Mike Goodridge</strong> (drums), <strong>Andru Branch</strong> (vocals, keyboards, percussion). Little did I know at the time that this would be the last promo shot as a band in its Toronto incarnation. Chris Davey played with the group for a short time, followed by guitarist "I Feel". My keyboard mentor, Bernie Pitters, often sat in with the group, as did saxophonist Jonno Lightstone. Soon my beloved Mother would phone me from Nova Scotia with a cancer diagnosis, and called me to be by her side. </p>Andru Branch & Halfway Treetag:www.halfwaytree.ca,2005:Post/63830702020-07-11T15:34:36-03:002020-07-11T15:46:48-03:00Live at Lee's Palace, 1998<p><img src="//d10j3mvrs1suex.cloudfront.net/u/442553/dbb1e45154115670b62e7fab451705d55a350776/original/andru-branch-halfway-tree-live-at-lees-palace-1998.jpg/!!/b:W10=.jpg" class="size_l justify_center border_" /><strong><span style="color:#27ae60;">Andru Branch</span> <span style="color:#f1c40f;">&</span> <span style="color:#c0392b;">Halfway Tree</span> </strong>live at <em>Lee's Palace, </em>1998. From left to right are <strong>Tomaz "Moose" Jardim</strong> (lead guitar), <strong>Mike Goodridge</strong> (drums), <strong>Lindell "LA" Allen </strong>(bass), <strong>Andru Branch</strong> (vocals, keyboards, percussion), <strong>KI</strong> (rhythm guitar). Missing from the photo is the 'Halfway Horn Section', comprised of <strong>David Wand</strong> and <strong>Kevin Cook</strong>, who are playing their hearts out, stage left. </p>Andru Branch & Halfway Treetag:www.halfwaytree.ca,2005:Post/63811422020-07-09T17:07:36-03:002020-07-11T15:47:04-03:00The Beaches in Toronto, 1998<p><img src="//d10j3mvrs1suex.cloudfront.net/u/442553/352397f51fbdc2ddc50a7280779d2909480e1b71/original/andru-branch-halfway-tree-1998.jpeg/!!/b:W10=.jpg" class="size_l justify_center border_" /><strong><span style="color:#27ae60;">Andru Branch</span> <span style="color:#f1c40f;">&</span> <span style="color:#c0392b;">Halfway Tree</span></strong>, 1998. Following a temporary stint with the affable "Floppy" on bass, pictured here, clockwise from left to right, are <strong>Tomaz "Moose" Jardim</strong> (lead guitar), <strong>Lindell "LA" Allen</strong> (bass), <strong>David Wand</strong> (trumpet), <strong>Kevin Cook </strong>(trombone), <strong>Andru Branch</strong> (vocals, keyboards and percussion), <strong>"KI"</strong> (rhythm guitar) and the ever faithful, ever sure, <strong>Mike Goodridge</strong> (drums). Missing from this photo is saxophonist <strong>Jonno Lightstone</strong>, who filled out the horn section and lifted up the sound with his virtuosic sax, flute and clarinet skills. Check out his mad clarinet playing on "Running Into A Corner" here: <a contents="www.halfwaytree.ca/music&nbsp;" data-link-label="" data-link-type="url" href="http://www.halfwaytree.ca/music">www.halfwaytree.ca/music </a></p>Andru Branch & Halfway Treetag:www.halfwaytree.ca,2005:Post/63808292020-07-09T12:16:28-03:002020-07-09T12:20:34-03:00Promo shot, 1997<p><img src="//d10j3mvrs1suex.cloudfront.net/u/442553/ee38901396c89654d126058a9ca203ddeb20a2cd/original/andru-branch-halfway-tree-promo-shot-1997.jpeg/!!/b:W10=.jpg" class="size_l justify_center border_" /><strong><span style="color:#27ae60;">Andru Branch </span><span style="color:#f1c40f;">&</span> <span style="color:#c0392b;">Halfway Tree</span></strong>, 1997. Clockwise, from left to right: <strong>Andru Branch</strong> (vocals, keyboards, percussion), <strong>Tomaz "Moose" Jardim</strong> (rhythm guitar), <strong>David Wand</strong> (trumpet), <strong>Mike Goodridge</strong> (drums), <strong>Art Gold</strong> (trombone), <strong>Ras Kawintseb Sellasssie</strong> (lead guitar and backing vocals). Missing from this promo shot is <strong>Chris "Friendly Man" Hatton</strong>. He became a busy man with a budding career, playing with the band Culture Shock, featuring the massive bass and drum team of Nigel Murray and Gary Lowe. A significant challenge in leading a band is navigating band members' respective life changes, especially having to replace members along the path. Trumpeter David Wand stepped in to replace the super talented Bryden Baird, who became busy working with awesome Toronto acid jazz ensemble One Step Beyond. And you can see it in his eyes, as Ras Kawintseb was preparing to depart the band to repatriate back to Africa; specifically Shashamane, Ethiopia, shortly hereafter.</p>Andru Branch & Halfway Treetag:www.halfwaytree.ca,2005:Post/63796322020-07-08T10:30:57-03:002021-01-24T20:52:37-04:00Live at the Bamboo Club, Toronto<p><img src="//d10j3mvrs1suex.cloudfront.net/u/442553/927e43a1c1a4f158286058aa13e0e241529f02d9/original/andru-branch-halfway-tree-live-at-the-bamboo-1997.jpeg/!!/b:W10=.jpg" class="size_l justify_center border_" /><strong><span style="color:#27ae60;">Andru Branch</span> <span style="color:#f1c40f;">&</span> <span style="color:#c0392b;">Halfway Tree</span></strong> in action, live at Toronto's legendary <em>Bamboo Club</em>, circa 1995. Pictured here is <strong>Art Gold</strong> on trombone, <strong>Andru Branch</strong> on keyboards and vocals, <strong>Mike Goodridge</strong> on drums, <strong>Ras Kawintseb Sellassie</strong> on lead guitar and backing vocals, and hidden behind him is the multi-talented "Friendly Man", <strong>Chris Hatton</strong>'s moniker at the time. I started frequenting <em>The Bamboo</em> when I was well under 19, and the club became like a second home to me. It was such a thrill to perform on the same stage as Jamaican reggae superstars Culture, The Mighty Diamonds and Frankie Paul. I started playing there with my preceding group Rockstone, securing the occasional Thursday night spot, but it wasn't until I assembled the stellar Halfway Tree reggae band in 1995 that we began to fill the room on coveted weekend nights. I give thanks for this talented set of wonderfully supportive musicians. </p>Andru Branch & Halfway Treetag:www.halfwaytree.ca,2005:Post/63784932020-07-07T11:55:06-03:002021-01-24T20:53:27-04:00COCA Conference in 1995<p><img src="//d10j3mvrs1suex.cloudfront.net/u/442553/757ef7f6271c80ebfafe6b5e2439097278c3ad37/original/andru-branch-halfway-tree-coca-1997.jpeg/!!/b:W10=.jpg" class="size_l justify_center border_" /><strong><span style="color:#27ae60;">Andru Branch</span> <span style="color:#f1c40f;">&</span> <span style="color:#c0392b;">Halfway Tree</span></strong> preparing to go on stage at the 1995 Canadian Organization of Campus Activities conference at Western University in London. Clockwise, from left to right are <strong>Mike Goodridge</strong> (drums), <strong>David Slater</strong> (saxophone), <strong>Andru Branch</strong> (vocals, keyboards and percussion), <strong>Bryden Baird</strong> (trumpet), <strong>Art Gold</strong> (trombone), <strong>Bernie Pitters</strong> (keyboards), <strong>Chris "Friendlyness" Hatton</strong> (bass), <strong>Ras Kawintseb Sellassie</strong> (lead guitar) and <strong>Tomaz "Moose" Jardim</strong> (rhythm guitar). This all-star line up of musicians took the stage immediately following an REM-style band, for which virtually the entire room full of delegates were sitting down, chatting amongst themselves, seemingly oblivious to the band on stage. Halfway Tree literally packed the dance floor from the first note to the last, after which we were flooded with invitations to perform at universities throughout the country. Booya! </p>Andru Branch & Halfway Treetag:www.halfwaytree.ca,2005:Post/63767462020-07-05T16:40:48-03:002022-02-27T00:02:13-04:00No ganja in the studio!<p><img src="//d10j3mvrs1suex.cloudfront.net/u/442553/ea92824e59bca839b094e1048db62105c9843b30/original/andru-and-otto-lee-wilson-1996.jpeg/!!/b:W10=.jpg" class="size_l justify_center border_" />The last in a series of photos from <em>Kingston Muzik</em>, where I recorded my first studio album <em>What If I Told You</em>, I am pictured here with the lovely and talented studio engineer <strong>Otto-Lee Wilson</strong> in 1998. Back when my beard was red like my mother's hair, I enjoyed countless hours in the recording studio with Otto, first tracking and then mixing the album that would go on to earn a Juno nomination in 2000. Either through mystic alignment or by sheer coincidence, Otto had learned his craft apprenticing with Bobby Simpson from Jah Studio at Queen and Ossington Streets in Toronto, where I had spent significant time recording with my former group Rockstone. I remember admiring Bobby's work for his unique sound and authentic Jamaican technique, that he would pass on to young Otto-Lee. As it turned out, Bobby had been commissioned by the entrepreneur who founded <em>Kingston Muzik </em>to design and build the studio. It's a small world after all!</p>
<p>Smoke has been shown to damage studio equipment by depositing resin over time. With respect to recording in Jamaica, this has always been somewhat of a challenge. Most Jamaican artists like to smoke herb while they work, and some studios are more tolerant than others. The owner had just enforced a strict "No Smoking" rule for those of us using the studio, and upon seeing this photograph, Otto took some shit! </p>Andru Branch & Halfway Treetag:www.halfwaytree.ca,2005:Post/63765172020-07-05T11:25:27-03:002020-07-07T12:03:58-03:00Recording with Ras Kawintseb <p><img src="//d10j3mvrs1suex.cloudfront.net/u/442553/e44019cb06558da1b02c571cc8ce5ab1907633ba/original/andru-branch-and-kawintseb-sellassie-1996.jpeg/!!/b:W10=.jpg" class="size_l justify_center border_" />Pictured here in 1996, I was honoured to have the support of my friend and collaborator <strong>Ras Kawintseb Sellassie</strong>, who accompanied me from Toronto to record my first album <em>What If I Told You</em> at <em>Kingston Muzik Studio </em>in Jamaica. Deeply spiritual and lighthearted, Ras Kawintseb lifted up the album with his accomplished rockin' blues style guitar. I was very moved to hear Kawintseb cover "The Valiant Prince" off this album before his move to Shashamane, Ethiopia in 1998.</p>Andru Branch & Halfway Treetag:www.halfwaytree.ca,2005:Post/63755262020-07-04T00:17:32-03:002020-07-04T15:13:15-03:00Recording with Seeco Patterson<p><img src="//d10j3mvrs1suex.cloudfront.net/u/442553/885410cf3b626455ab876d06cd03c0b83382e20a/original/andru-and-seeco-1996.jpeg/!!/b:W10=.jpg" class="size_l justify_center border_" /></p>
<p>I honed my skills alongside the late, great drummer Raffa Dean, who initiated me on percussion at Toronto's famous <em>Bamboo Club</em> throughout the 90s. Raffa played drums on the demo tape that landed me my first record deal with <em>Kingston Music </em>in 1996. It was rumoured that The Wailers' percussionist lived close by the studio, where I was settling in to record my first album. One evening at dusk, Moose and I were out for some air at the park in Mona Heights, across the street from the studio. A lone figure with a particular gait approached in the near distance to whom we called out "Seeco?" "Yes?" said he, in a growly voice. It hadn't been my intention to meet Bob Marley's mentor and closest friend, but we forged a fast friendship, which found us in the studio together, playing percussion. What a joy! Seeco is 89 now and holding strong. My humble gratitude for opening your heart and home to me all these years. Blessed Love and maximum respect to you <strong>Alvin "Seeco" Patterson</strong>, pictured here at <em>Kingston Muzik Studio</em> in 1996. </p>Andru Branch & Halfway Treetag:www.halfwaytree.ca,2005:Post/63748632020-07-03T13:28:41-03:002020-07-04T00:18:47-03:00Recording with Family Man<p><img src="//d10j3mvrs1suex.cloudfront.net/u/442553/27ba9a9f4169d1406a0cf2aaf6537ab1cd8d7d30/original/andru-and-fams-1996.jpeg/!!/b:W10=.jpg" class="size_l justify_center border_" /></p>
<p>Flanked by my bandmates from Toronto, Ras Kawintseb and Tomaz "Moose" Jardim, I arrived at <em>Kingston Musik</em> in Jamaica, and was greeted by the owner and CEO, Peter Blake. The next morning he introduced me to an irie dread named Phanso, who might produce our project. When asked which musicians I would like to work with I replied "The Wailers", of course! Happily, my friends Moose and Kawintseb were acquainted with Aston Barrett, the formidable bass player who has held down the bottom end with Bob Marley's band The Wailers for over forty years. They contacted Aston and paid a visit to his home in Kingston, where they sat by his pool and explained that they had come on a mission to record a collection of songs with a young Canadian artist. "Family Man", as Aston is affectionately known, appeared at <em>Kingston Muzik </em>the next day, and spent the whole day hanging out, smoking herb and strumming an acoustic guitar. He returned and spent the entire next day with us at the studio. I sensed that he was sussing me out, this unknown Canadian artist who he might record with, for at the end of the second day he inquired: "So when do you want to start work?" The would-be producer, Phanso Wilson, turned out to be one of the best reggae drummers I have ever played with, who ended up playing drums on all of the recordings, alongside Fams on bass. This photo was taken just outside the kitchen door at <em>Kingston Muzik</em> in 1996, where, for those of you that know me, I spent a lot of time cooking! My gratitude to <strong>Aston "Family Man" Barrett</strong> for sharing your expertise with I & I.</p>Andru Branch & Halfway Treetag:www.halfwaytree.ca,2005:Post/63736682020-07-02T13:50:36-03:002020-07-04T00:18:57-03:00What If I Told You<p><img src="//d10j3mvrs1suex.cloudfront.net/u/442553/63a6135fa6d6a3cafad63f55a23140a8908e13a6/original/paul-hussey-family-man-barrett-phonso-wilson-tomaz-jardim-1996.jpeg/!!/b:W10=.jpg" class="size_l justify_center border_" /></p>
<p>Within a year of assembling the Halfway Tree band in Toronto, my demo cassette found its way to <em>Kingston Muzik</em> CEO Peter Blake, who invited me to Jamaica to record seven tracks to complete my first full-length album <em>What If I Told You</em>. Pictured here is UK recording engineer <strong>Paul Hussey</strong>, and the incredible rhythm section of <strong>Aston "Family Man" Barrett</strong> (bass), <strong>Rolando "Phanso" Wilson</strong> (drums), <strong>Tomaz "Moose" Jardim</strong> (guitar) and myself on keyboards at <em>Kingston Muzik Studio </em>in 1996. </p>Andru Branch & Halfway Treetag:www.halfwaytree.ca,2005:Post/63724572020-07-01T13:05:59-03:002020-07-04T00:19:08-03:00Halfway Tree<p><img src="//d10j3mvrs1suex.cloudfront.net/u/442553/ad187b2d5f92f79942214156e2805d1b0bc8c32a/original/andru-branch-halfway-tree-1995.jpeg/!!/b:W10=.jpg" class="size_l justify_center border_" /></p>
<p><strong><span style="color:#27ae60;">Andru Branch</span> <span style="color:#f1c40f;">&</span> <span style="color:#c0392b;">Halfway Tree </span></strong>germinated in 1995. Clockwise, from left to right: <strong>Art Gold </strong>(trombone), <strong>Ras Kawintseb Sellassie</strong> (lead guitar and backing vocals), <strong>David Slater </strong>(saxophone), <strong>Mike Goodridge</strong> (drums), <strong>Tomaz "Moose" Jardim</strong> (rhythm guitar), <strong>Andru Branch</strong> (vocals, keyboards and percussion). I used to spend significant time with local Toronto radio personality, DB Hawkes. One afternoon I explained that I was going to form my own backing band, to which he replied: "The name should be catchy; something like 'Bobcaygeon'!" Andru Branch and...Halfway Tree. Of course! Halfway Tree is a district in Kingston, Jamaica, where I have since spent countless hours recording and rehearsing with some of my favourite musicians. Missing from this photo is the venerable <strong>Chris "Friendly Man" Hatton</strong>, who drove the group on bass guitar for the first year and a half. Nuff respect me bredren. </p>Andru Branch & Halfway Treetag:www.halfwaytree.ca,2005:Post/63713632020-06-30T15:04:03-03:002020-07-04T00:19:20-03:00Branchin' Out<p><img src="//d10j3mvrs1suex.cloudfront.net/u/442553/c95bbb57c1723bf6cce285866e352162dbeca778/original/branchin-out-cassette-cover-1993.jpeg/!!/b:W10=.jpg" class="size_l justify_center border_" /></p>
<p>After cutting my teeth with Toronto bands Jericho, Solid Foundation and Rockstone in the late 80s and early 90s, I went out on my own. This was the cover of my 'demo' cassette aptly entitled "Branchin' Out", shot by reggae advocate, Rastaman Greg Lawson around 1993. The five song cassette found its way into the hands of Kingston Muzik CEO Neils Peter Blake, who funded the completion of my first album <em>What If I Told You</em> in 1996, which went on to be nominated for "Best Reggae Recording" at the Juno Awards in 2000. </p>Andru Branch & Halfway Treetag:www.halfwaytree.ca,2005:Post/63166532020-05-14T16:58:18-03:002020-05-15T11:54:50-03:00The Graveyard<p>The human condition forces us all to consider our ultimate demise. I have come to terms with the one guarantee in life; that we will all one day return to the place from whence we came. I believe that accepting this ultimate fate helps us to live in the present moment, to embrace our loved ones, and to appreciate what we have. It is so easy to get caught up with the past and to worry about the future, even though we have no control over either. While trying to keep up with the breakneck pace the society we have created has imposed on us, coming to terms with this truth is perhaps the most empowering tool we have.</p>
<p>I was traumatized by horror films as a child, yet somehow I developed a love of Halloween. Trick or treating for candy bars felt safe in my neighbourhood, and I continue to watch in awe as people’s imagination bubbles to the surface on this day. I managed to separate my fear of the supernatural and the gore that became associated with this peculiar ritual, to appreciate the creativity that my friends and neighbours put into their costumes and decorating their homes each year. It has always felt like a magical night to me, and every year I imagine the orange glow of jack-o-lanterns across North America from space.</p>
<p>It wasn’t until I met my lovely South American mother-in-law Soledad, who helped explain to me the beautiful tradition of making food on the Day of the Dead, and holding space for the dearly departed. Somehow this practice melded together with the ancient Wiccan and Pagan rituals of Samhain into the tradition we now call Halloween.</p>
<p>I still can’t take horror movies and I don’t care much for the concept of zombies. I felt as though I stood alone against the fashion trend that depicted skulls on t-shirts, hoodies and hats since the early 2000s. I had a suspicion that wearing signs of death would conjure a bad omen. With the exception of Halloween, when I somehow manage to quell my superstition, I wouldn’t be caught dead wearing images of morbidity. When I take a moment to explore this phenomenon further, it has become obvious to me that humankind has developed an obsession with death. It is as though we have gone beyond the fear of dying to embracing death as a titillating sideshow. Netflix is rife with films about serial killers and literally every other TV show involves sexual assault and bloody murder, in increasingly gory detail. While I don’t have the statistics to back it up, I am certain that there is a correlation between the glorification of death that we consume on our screens, of which we can’t seem to get enough, and the ever-increasing incidence of murder. Rampant, seemingly random, hate-driven, senseless mass shootings that used to shock gun toting America have now tainted our shores in Canada. It is no coincidence that the desensitization of our youth through murderous video games has normalized mass killings in our society. Life has become cheapened as we are bombarded with a constant barrage of violence, disproportionally against women, further promoting a misogynistic culture. We would do well to exercise better judgement in what programming our society funds. By not producing TV shows and movies containing insidious violence, perhaps we can bolster respect for women and re-sensitize today’s youth to the precious gift of life. </p>
<p>These are stressful times, to say the least. Modern civilization is witnessing unprecedented death around the world. In the early days of the pandemic we watched in terror as our brothers and sisters succumbed to pneumonia. Over time, a certain amount of acceptance has been required for our mental health, and with it death tolls increasingly become statistics.</p>
<p>Adorned with all the bells and whistles, the stereotypical sounds of Halloween, my song “The Graveyard” was initially inspired by my friend Jay O, who grew up in the crime-ridden capital of St. Lucia. The Wilton’s Yard district of Castries became known as “The Graveyard” due to its high mortality rate amongst the youth. The lyrics address many subject matters, including the persecution of herb dealers, the plight of ghetto living where education is a luxury, the brainwashing of our society by elitist regimes, and the universal challenge of conquering our respective egos. I attempted to temper the severity of the subject matter by adding a verse about a grave robber (itself a real thing) who tantalizes the Grim Reaper, in fanciful verse. The song has since taken on new meaning for me.</p>
<p>In light of the rising death toll around the globe, I considered leaving this track off my collection of singles. It is somewhat of an anomaly in my discography in that its roots are in reggae but it simultaneously employs a modern dance groove. It is not intended to make light of a serious situation. Though it is cloaked in poetic frivolity, “The Graveyard” certainly reminds us of our mortality. It is meant to be an affirmation of life.</p>
<p>As such, I have decided to donate the proceeds of the sales of my 25th Anniversary collection ‘The Singles’ to the COVID-19 emergency support effort in South Africa, where many thousands are on the brink of starvation. My trusted friend Catherine Robar works in Donor Relations and Fundraising at UNICEF in South Africa, where she heads the Themba Project, specializing in resource mobilization. All money raised will be spent directly on providing food to the community.</p>
<p>If you have not already purchased ‘The Singles’, this is a wonderful opportunity to support your fellow men, women and children who are struggling to find enough food to survive amidst the government lockdown in South Africa. For only $10 you will get a copy of my new compilation via secure direct download that may help to inspire hope over the coming months, while helping to save lives. Get your copy here: <a contents="www.halfwaytree.ca/music" data-link-label="" data-link-type="url" href="http://www.halfwaytree.ca/music">www.halfwaytree.ca/music</a></p>
<p>Alternatively, please consider giving generously to The Themba Project here: </p>
<p><a contents="https://www.canadahelps.org/en/charities/the-themba-development-project-association/p2p/COVID19/?fbclid=IwAR1PfuIKNUioFED_tEgrFW1ML15LG0g4dT10darVnWfNqBNGuZ1HKHsV2Rw" data-link-label="" data-link-type="url" href="https://www.canadahelps.org/en/charities/the-themba-development-project-association/p2p/COVID19/?fbclid=IwAR1PfuIKNUioFED_tEgrFW1ML15LG0g4dT10darVnWfNqBNGuZ1HKHsV2Rw">https://www.canadahelps.org/en/charities/the-themba-development-project-association/p2p/COVID19/?fbclid=IwAR1PfuIKNUioFED_tEgrFW1ML15LG0g4dT10darVnWfNqBNGuZ1HKHsV2Rw</a></p>
<p>Thank you for your support and may God bless you with guidance and protection and with health and happiness ~ Andru Branch</p>
<p><iframe class="justify_inline" data-video-type="youtube" data-video-id="q5S1H2hlT5c" data-video-thumb-url="https://img.youtube.com/vi/q5S1H2hlT5c/mqdefault.jpg" type="text/html" src="https://www.youtube.com/embed/q5S1H2hlT5c?rel=0&wmode=transparent&enablejsapi=1" frameborder="0" height="180" width="320" allowfullscreen="true"></iframe></p>
<p> </p>Andru Branch & Halfway Treetag:www.halfwaytree.ca,2005:Post/63151652020-05-13T16:38:28-03:002020-05-13T17:23:34-03:00The Winter Of My Discontent<p>Throughout the 1970s most 7” 45 rpm singles manufactured in Jamaica included a B-side instrumental version of the A side, simply titled “VERSION”. This was in response the rapidly growing popularity of ‘toasters’ aka mic MCs, who would speak over the version side of a single, ‘toasting’ the crowd, calling the name of the sound system, bigging up the name of the selector and operator, and of course the other ‘spoken word’ artists in the house. The style became known as “Deejay”, different from the disc jockey (DJ), who was all important, but went by the title ‘selector’ for his part in ‘selecting’ the records alongside the ‘operator’, who would operate the turntable and mixer plus turn the knobs which would control various sound effects. Sometimes one disc jockey would assume both roles, and if no one else was around, perhaps they might “deejay” as well! Perfectly clear, right?!</p>
<p>The Godfather of the style was called Daddy U-Roy, followed closely by I-Roy, King Yellowman and Josey Wales, who went on to receive Jamaica’s prestigious “Order of Distinction” in 2017. This early musical form of lyrical rhyming would go on to inspire rap music throughout the 80s and beyond. Many successful deejays followed, including Brigadier Jerry, Charlie Chaplin, Lieutenant Stitchie, Tiger, and my all time favourite, Super Cat. The style continued to evolve through the 90s, creating commercial superstars like Shabba Ranks, Shaggy, Buju Banton and Beenie Man, plus the more militant Rasta revolutionaries like Capleton and Sizzla, who catered to a specific dance hall audience.</p>
<p>As traditional roots reggae transitioned to what became known as “dance hall” music in the late 80s, the music took on a simpler, synthesizer based sound. “Riddims” could now be created in a home studio, dispensing with the need for expensive studio time and live musicians. As recording gear became digital and more easily portable, one ‘producer’ could program a drum loop and then build the entire riddim on a single ‘controller’ or synthesizer. This facilitated the ease of recording and the subsequent explosion of ‘artists’ across an island on which nearly everyone fancied themselves a deejay. King Jammy and other producers such as Steely and Clevie became in high demand. Wordsmiths abounded and some rose to the top of the charts. </p>
<p>One such producer became known as Don Corleon. Don rented a studio space at Kingston Muzik Studio in Mona Heights where I was recording my sophomore album. He became hugely popular in Y2K and all the rising stars began showing up at the studio to ‘voice’ a track on one of Don’s original riddims. In the four months I lived in the studio complex I watched many deejays record right through the night, including Sean Paul and Elephant Man. Vybz Kartel would occasionally sleep on the bench outside my window. I would go on to back them all at Sting 2001, touted “The greatest one night reggae and dance hall show on earth”!</p>
<p>Throughout my seminal years, finding my way as a musician and singer in the metropolis of Toronto, I immersed myself in Jamaican culture, attending concerts and dances and every after hours ‘speakeasy’ opportunity I could find. There was hardly a day that one couldn’t find some sort of Jamaican entertainment to dance to. Of note were The Ackee Tree, Muhtadi’s and The House of David. Weekend house parties featured mouthwatering homemade curried goat with Jamaican rice 'n' peas with a side of coleslaw.</p>
<p>Towards the end of the 80s, dance hall became the sound of a new generation. Toronto produced numerous notable deejays including Stevie Banton, General Fitness, Friendlyman and DJ Caddy Cad aka Cadillac, featured here.</p>
<p>We have all gone through tough times. We have lost jobs, loved ones and relationships, and within that context we each have our own unique set of circumstances that we have to grapple with. It is all relative. “The Winter Of My Discontent” was born out of a particularly difficult year for me, navigating unemployment and an uncertain future. The lyrics seem to be more relevant now than ever before...</p>
<p><iframe class="justify_inline" data-video-type="youtube" data-video-id="_C_Ht-B6OcM" data-video-thumb-url="https://img.youtube.com/vi/_C_Ht-B6OcM/mqdefault.jpg" type="text/html" src="https://www.youtube.com/embed/_C_Ht-B6OcM?rel=0&wmode=transparent&enablejsapi=1" frameborder="0" height="180" width="320" allowfullscreen="true"></iframe></p>Andru Branch & Halfway Treetag:www.halfwaytree.ca,2005:Post/63137142020-05-12T17:29:36-03:002020-05-15T11:31:35-03:00Always On My Mind<p>As a young teenager growing up in Toronto in the early 80s one couldn’t help but be lured by the infectious music that became known as “two-tone ska”. UK band The Specials embodied the multi-racial sound and look for which the style was named. This was Great Britain’s response to the massive impact that Jamaican music had on its youth culture.</p>
<p>Beginning in the 1950s, a wave of Jamaicans immigrated to the UK to fill the fledgling labour market. As Jamaican migrant communities grew so too did the music scene. By the mid 1960s, the music from the Caribbean island had infiltrated London’s pop culture. In 1964 Millie Small’s “My Boy Lollipop” would reach number two on the UK charts. Cultural lines blurred as black music began to inform British culture, and second generation British Jamaicans began to find common ground with their working class neighbours. With the evolution from ska through rocksteady to reggae music would come a multicultural revolution against racism in the British Isles. Bands such as The Specials and The Selecter busted onto the scene in the late 70s, whose black and white members resembled the modern society from which they were created. “The English Beat” by their very name would embody the movement sweeping the nation, followed closely by Madness and Bad Manners, right on through to the advent of international superstars UB40.</p>
<p>The so-called “British Invasion” described the massive influence that bands such as the Beatles and the Stones had on the North American musical landscape throughout the 1960s and beyond. While the tide of rock ‘n’ roll was surging back across the Atlantic, the music of Jamaica was changing the sound of Britain itself. Bob Marley recorded his triumphant Exodus album in London in 1977 and The Clash were covering Jamaican hits such as Junior Murvin’s “Police and Thieves” and Willi Williams' "Armagideon Time". By the time Marley died from cancer in 1981, reggae had permeated popular music. From Clapton’s version of “I Shot The Sherriff” to 10CC’s “Dreadlock Holiday” to Culture Club’s “Do You Really Want To Hurt Me”, reggae’s infectious groove was here to stay.</p>
<p>Back in Canada, Toronto’s Jamaican population had surged to almost a quarter million, and where there are Jamaicans there is reggae music. The Ishan People were one of the first reggae bands in Canada, a conglomerate of Jamaican migrant musicians, including renowned singer Johnny Osbourne. Numerous Jamaican <em>Studio One</em> alumni made Toronto their home, including The Heptones’ Leroy Sibbles, his mentor Brian “Bassie” Atkinson, and keyboard legend Jackie Mittoo.</p>
<p>I was fifteen when someone alerted me to a concert being held at Toronto’s <em>Palais Royale</em> in 1983. Rastafarians of Guyanese and Trinidadian decent had formed a band called Truths and Rights, which had a significant impact on Toronto’s reggae burgeoning reggae scene. I was hypnotized by their repertoire, including the memorable anthem “Time For Us To Unite”, from their powerful song "Black Plight". I returned to the venue shortly thereafter to take in their Jamaican counterpart The 20th Century Rebels, whose song “Running From The FBI” made a similar lasting impression on me. The Rebels’ drummer “Raffa”, who became widely known as the best reggae drummer in Canada, would become my mentor and champion.</p>
<p>As a youth growing up in Jamaica in the early 70s, Tony “Raffa Dean” White spent significant hours studying reggae powerhouse The Fabulous Five band, paying particular attention to drummer, vocalist and bandleader Asley “Grub” Cooper. Raffa moved to Toronto in 1975 and quickly became the backbone of the Toronto reggae scene, backing virtually every reggae superstar that passed through the city.</p>
<p>Toronto’s legendary <em>Bamboo Club</em> opened their doors in 1983, hosting the who’s who of reggae music in Canada. Legendary Jamaican artists including Leroy Sibbles, Frankie Paul and The Mighty Diamonds played there on several occasions, and a gig at the club became a coveted spot for aspiring Torontonian reggae acts. Canada’s most successful reggae groups, Messenjah and The Sattalites played there, as well as a host of young bands which included Sunforce, Revelation, Fujahtive, Culture Shock, Leejahn, Bongcongonistas (one of several groups that Raffa played with), and my first successful reggae group, Rockstone.</p>
<p>I had somehow been managing admission to the <em>Bamboo</em> since the age of 15. Even though I was four years away from legal entry, my face became familiar to the staff, so I was rarely questioned. I became a fixture at the ‘Boo, dancing amongst the throngs of patrons from every culture and walk of life. I had developed a penchant for reggae percussion and eventually I began to accumulate a collection of shakers and knockers I would tote around with me. It was a Mecca for reggae fans and bands alike, and as my musical ability began to catch up with my profound love of the genre, Raffa started encouraging me to sit in and play by his side. I was under ‘heavy manners’ and as such there was no room to stray from his timing. In turn it taught me discipline, and Raffa taught me groove. When he felt I was ready, we backed up iconic Jamaican singer Gregory Isaacs together.</p>
<p>I played for a spell with legendary Jamaican guitarist Ronnie “Bop” Williams, who invited me to come and hear him play with one of the heaviest reggae bands to emerge from the city’s Rastafarian community called Awanjah. The charismatic front man was named Prince, backed by Carlton Dinnall on bass. I caught one of their mesmerizing shows at <em>PWD’s</em> in Toronto’s historic Yorkville neighbourhood. The band played with such spiritual depth that I felt compelled to approach the bass player about working together. This bold move culminated in a brazen young band we named “Rockstone”. Following a recent falling out with the bass player from a Jamaican group I had been working with called Solid Foundation, I recruited the band’s drummer Mikey Flemmings and guitarist Derrick “Jah D” Lambert to join Rockstone. A fellow musician from Toronto’s Malton subdivision, Jah D had been an original member alongside Carlton in Awanjah. We coined the phrase “Four Tuff” as Rockstone earned a reputation for sounding like a full reggae band with only four players. When Mikey became unavailable to perform a string of gigs we called upon Raffa, who embraced the band as one of his favourites. The group played countless gigs in and around Toronto, culminating on a float in the annual <em>Caribana</em> parade in 1991.</p>
<p>Rockstone played an equal number of original songs and cover tunes. “Always On My Mind” was written by my friend and co-conspirator Carlton Dinnall in the early 90s, a song that I always believed deserved a good recording. This version is hereby livicated to our friends and band mates Jah D, who suffered a massive asthma attack in 2008, and Raffa Dean, who was consumed by cancer in 2014. I will be forever grateful for your lovingkindness and you will forever be always on my mind.</p>
<p><iframe class="justify_inline" data-video-type="youtube" data-video-id="rlmKrR8X6YE" data-video-thumb-url="https://img.youtube.com/vi/rlmKrR8X6YE/mqdefault.jpg" type="text/html" src="https://www.youtube.com/embed/rlmKrR8X6YE?rel=0&wmode=transparent&enablejsapi=1" frameborder="0" height="180" width="320" allowfullscreen="true"></iframe><iframe class="justify_inline" data-video-type="youtube" data-video-id="rlmKrR8X6YE" data-video-thumb-url="https://img.youtube.com/vi/rlmKrR8X6YE/mqdefault.jpg" type="text/html" src="https://www.youtube.com/embed/rlmKrR8X6YE?rel=0&wmode=transparent&enablejsapi=1" frameborder="0" height="180" width="320" allowfullscreen="true"></iframe></p>Andru Branch & Halfway Treetag:www.halfwaytree.ca,2005:Post/63125792020-05-11T19:33:34-03:002020-05-11T19:33:34-03:00Get Over You<p>With all of its similarities to reggae, I have never been particularly drawn to country music. For some reason however, my infatuation with a beautiful young art student at the Nova Scotia College of Art and Design inspired this little ditty. I had recently moved from Toronto to Halifax. She had eyes like a doe and I was smitten. I would stop by to visit her at her work place. I made her a mixed tape even though nobody had a tape deck anymore. But I just couldn’t figure out if she liked me in return. After she turned down my invitation to go on a dinner date I realized that I had to get over it. All my pining wasn’t worth it. It just wasn’t meant to be. Sigh.</p>
<p>Featuring reggae greats Chris Meredith on bass and Squidly Cole on drums, Jah D on organ, and Tomaz Jardim on guitar, “Get Over You” features a classic country boy acoustic guitar solo by my long time friend and band mate Tyson Spinney. Another lifetime friend, country crooner Doug Paisley offers his sweet backing vocals alongside his longtime sidekick Chuck Erlichman. My former classmate from audio engineering school Adam Balduc graces the track with his virtuosic mouth organ skills, plus if you listen closely you can hear the understated addition of Jono Grant on the “Jah harp” aka jaw harp, mouth harp, gewgaw, guimbard, khomus, Ozark harp, Jew's harp, Galician harp or murchunga, otherwise known as a “trump”! Ew.</p>
<p><iframe class="justify_inline" data-video-type="youtube" data-video-id="uhrQ55D87QI" data-video-thumb-url="https://img.youtube.com/vi/uhrQ55D87QI/mqdefault.jpg" type="text/html" src="https://www.youtube.com/embed/uhrQ55D87QI?rel=0&wmode=transparent&enablejsapi=1" frameborder="0" height="180" width="320" allowfullscreen="true"></iframe></p>Andru Branch & Halfway Treetag:www.halfwaytree.ca,2005:Post/63102242020-05-09T09:42:29-03:002020-05-09T09:57:00-03:00Happy Day<p>Immediately following my Mom’s funeral I went to visit my Dad in Fredericton. Saddened by the passing of his former wife, he tried but failed to comfort me. My Mom had been my closest person. Living alone together for over a dozen years, we had seen each other through a lot. My Dad had a good heart but he struggled with bipolar disorder all my life. He didn’t know what to say and ended up putting his foot in his mouth. What could he have said, anyway?</p>
<p>On a happier note, the evening I spent in Fredericton found me at The Capital Pub, which featured nightly live entertainment. Though I hadn’t heard of them at the time, the pub was featuring the Aaron MacDonald Band from Mabou, Cape Breton. I recognized the drummer from the sound engineering school that we had both attended back in Ontario. Neil MacQuarrie had followed in his father’s shoes and become an affable young drummer. He invited me to come and meet the band, and in short order I was invited to sit in with my extra percussion. I have always tried to keep my percussion bag of tricks close at hand, for just such an emergency!</p>
<p>We got along famously and the band gave me a standing invitation to join in anytime we crossed paths. Shortly thereafter I settled in Halifax, where the Aaron MacDonald Band performed regularly. I became both a fan and a regular stand in. Aaron is still a clever songwriter and continues to perform his repertoire at venues around Cape Breton. But of the many catchy ditties that Aaron has penned over the years, his biggest crowd pleaser was always “Happy Day”. One couldn’t help but dance and sing along to the chorus, declaring: “I’m going back to where I left my friends”. It became the most requested song by audiences everywhere they played. Sometimes he’d have to play it twice in a night!</p>
<p>From the perspective of the veritable tambourine player in the group, I always heard this song as a great reggae jam. Hopefully you’ll agree! Years later, when I sought his permission to record the song, Aaron explained that the lyrics were inspired by a mushroom trip. Albeit, the song remains a Maritime anthem, filled with wisdom: “If we’ve got life then it’s life to live and it doesn’t really matter ‘cause we get what we give. And when it’s gone it comes around again…”</p>
<p>My grateful thanks for sharing your music with me Aaron! You lifted me up just when I needed you most! Catch more Aaron MacDonald here: <a contents="https://www.facebook.com/Aaron-MacDonald-16782089186/" data-link-label="" data-link-type="url" href="https://www.facebook.com/Aaron-MacDonald-16782089186/">https://www.facebook.com/Aaron-MacDonald-16782089186/</a></p>
<p><iframe class="justify_inline" data-video-type="youtube" data-video-id="i_FKnkwMDT4" data-video-thumb-url="https://img.youtube.com/vi/i_FKnkwMDT4/mqdefault.jpg" type="text/html" src="https://www.youtube.com/embed/i_FKnkwMDT4?rel=0&wmode=transparent&enablejsapi=1" frameborder="0" height="180" width="320" allowfullscreen="true"></iframe> Shot and directed by my wonderful wife Jessica Marsh!</p>Andru Branch & Halfway Treetag:www.halfwaytree.ca,2005:Post/63091362020-05-08T14:11:28-03:002020-05-08T17:18:02-03:00Ease Off The Pressure<p>This song opens with a familiar expression in Jamaican patios, roughly translated: “What the @#$% is going on?” These were words uttered on a regular basis by the Jamaican studio owner who signed me with his independent label at Kingston Muzik.</p>
<p>Following the successful recording of my debut album <em>What If I Told You</em> in 1996, <em>Kingston Muzik</em> shopped the album at the <em>Midem</em> music conference in France in 1998. Independent reggae distributor <em>Tabou 1</em> licensed the rights to sell the album in Europe and it received significant airplay on radio in France and in the Netherlands. There were giant posters promoting my first full-length album in the Paris subway and the record company had secured me a prime spot on the premiere reggae festival in Jamaica, <em>Reggae Sunsplash</em>. I was on my way!</p>
<p>I had the great fortune of recording the album with several members of The Wailers band including “Seeco” Patterson, “Chinna” Smith and Aston Barrett, plus a surprise guest appearance by Tyrone Downie on piano. <em>What If I Told You</em> went on to be nominated in the “Best Reggae Album” category at the 2000 <em>Juno Awards</em> back in Canada.</p>
<p>I continued writing, rehearsing and performing with my awesome reggae group Halfway Tree in Toronto. By this time the group had a reputation on the local club scene for bringing hearticle reggae to an expanding circle of fans.</p>
<p>I was however stopped in my tracks when my Mom called me with a cancer diagnosis in early 2000. I dropped everything and departed for Nova Scotia to be by her side. The prognosis was not good so I returned to Toronto and packed up my things and moved to Halifax to spend the rest of her days with her. Only, she died before I made it back. I attended the funeral in my hometown of Sackville, New Brunswick and then landed back in Halifax. I had let the momentum with my band slide and went into a period of mourning. After working at <em>The Economy Shoe Shop</em> food and beverage emporium for a couple of months I moved out to the family cottage with my keyboards and my dog, where I finished composing a collection of new material.</p>
<p>I called up the studio owner at <em>Kingston Muzik</em>, explaining that I was ready to record another album. Encouraging me to come, I called up Family Man to see if he would be willing to record another album together. We arranged to meet in Kingston immediately following the Wailers’ tour at the end of September.</p>
<p>Flanked by my close friends, guitarists Tyson Spinney and Tomaz “Moose” Jardim, I arrived at <em>Kingston Muzik</em> two weeks’ after September 11th, 2001. However, Family Man was nowhere to be found. We learned that the Wailers’ tour had been extended in Europe so I called up Chinna Smith, who connected me with hard working session bass player Christopher Meredith and his colleague, drummer “Squidly” Cole. This was the bass and drum team that was working with Ziggy Marley at the time. Needless to say, they threw it down in the studio, and within three days we had finished bed tracks for a full-length album. My friends and I busted it to the airport and flew back to Canada.</p>
<p>I spent the following months recording overdubs: horns and piano, clavinet, African guitar, sitar, clarinet, etc., before returning to Kingston to mix. I was stoked!</p>
<p>Shortly after my arrival, Chris and Squidly stopped by the studio for a visit. We had a quick listen to some of the tracks we had recorded together before they bid me a good night. The next day I went into the studio to resume work only to find that the audio tapes had mysteriously disappeared. In a classic Jamaican “bandulu” move, the rhythm section had “tiefed” the tapes, to hold to as ransom. I quickly learned that the studio owner/executive producer had not yet paid them for their session work. Much to my chagrin, the president of the Jamaican Musicians’ Union had to step in to set things straight with the studio and arrange that the musicians be paid their due before I could reclaim the tapes and continue work on the album. The musicians were paid and the tapes were safely returned.</p>
<p>Weeks went by as equipment failed and progress was stalled, as is typical of the Caribbean, so I grew frustrated and packed up to leave. Upon my arrival in Montego Bay after a day’s journey by bus, my heart sank to discover that the audio tapes I had safely packed in my bags contained only empty shells. Stolen for a second time, I could only presume that the executive producer was protecting his investment by withholding the tapes.</p>
<p>I spent several months in Canada restoring my faith in humanity before returning to <em>Kingston Muzik</em> to recover a “back up” set of tapes. I returned to Nova Scotia and although there were bits and pieces of what I had recorded missing, I managed to secure all the bed tracks. I booked out a great studio in Halifax called <em>Common Ground</em> and went to work. I had to hire a horn section to redo the parts, since the only surviving horn part was the sweet trombone solo by William Carn that opens the song (to follow). With the help of accomplished studio engineer Chris Mitchell, I managed to pull the album together. <em>The Only Constant</em> was seven years in the making.</p>
<p>The album received critical acclaim upon its release in 2008 and the song “Ease Off The Pressure” sat at number one on CBC’s <em>Galaxie</em> reggae channel for four months. Even though the song was written before it was recorded, the lyrics certainly are apropos.</p>
<p><iframe class="justify_inline" data-video-type="youtube" data-video-id="8ene9z04h8I" data-video-thumb-url="https://img.youtube.com/vi/8ene9z04h8I/mqdefault.jpg" type="text/html" src="https://www.youtube.com/embed/8ene9z04h8I?rel=0&wmode=transparent&enablejsapi=1" frameborder="0" height="180" width="320" allowfullscreen="true"></iframe></p>Andru Branch & Halfway Treetag:www.halfwaytree.ca,2005:Post/63079872020-05-07T15:02:21-03:002022-02-03T21:12:01-04:00Bring Back Real Reggae Music<p>Reggae music crept into the streets of Kingston in the mid-1960s as the voice of the oppressed; Jamaica’s underprivileged in a society in civil unrest. The island struggled with poverty but the former British colony had bred an industrious and resilient people who managed to hustle for their daily bread. A wide variety of fruits grew abundantly on trees throughout the island, including the native “ackee”, which would be gathered and sold at local markets, and fishermen’s nets were abundantly full of red snapper and other treasures from the sea. This was a nation of great faith in God, boasting more churches per capita than anywhere else on Earth. And where there were churches there was music, singing praises to His name.</p>
<p>The happy-go-lucky “ska” music of the early 1960s depicted easier times, when Jamaican musicians were imitating the rock and roll sounds of Fats Domino and the like, which could be heard over radio waves from the United States. These were love songs with a danceable shuffle, and in response local dances became hugely popular. The premier band of the 1960s was called the Skatalites, employed by Clement Dodd as the house band at the <em>Jamaica Recording Studio</em>. He would become known as Sir Coxone aka “Downbeat”, and the studio was dubbed “Studio One”.</p>
<p>The transition to reggae music happened through what would become known as “rocksteady”, a slower version of the same beat, featuring a hypnotic, walking electric bass line, in place of the traditional stand up. Around 1965 the Skatalites were replaced by a young set of musicians that would go by several names as they created their formidable canon, including Soul Brothers aka Soul Vendors aka Brentford All-Stars aka Jamaica All-Stars. This new <em>Studio One</em> collective was led by young trumpeter Bobby Ellis and a keyboard prodigy named Jackie Mittoo, who would go on to shape the sound of reggae music to come. This was the hay day of rocksteady, primarily still love songs to swoon and croon to, still danceable enough to woo a date at the local club.</p>
<p>Dozens of singers and aspiring young singing groups adorned the rhythm tracks created by the <em>Studio One</em> band, and several other studios and respective house bands began popping up around Kingston town, including <em>Duke Reid Studio</em> and <em>Channel One</em>. These studios began pumping out hit after hit. Sometimes a 7” single was mixed and pressed on vinyl the same day, and then quickly couriered to “sound systems” throughout the city by bicycle. Sound systems were literally a collection of homemade speaker boxes, piled one atop the other for maximum bass, volume and velocity. Ample amplification and maximum wattage was of paramount importance as competing sound systems increasingly played a major cultural role in spreading new music throughout the land.</p>
<p>Meanwhile, a growing alternative religion was gaining popularity in Jamaica. Prominent black rights activist and president of the UNIA, Jamaican born Marcus Garvey, had purportedly suggested that his followers “look to Africa, when a black king shall be crowned, for the day of deliverance is at hand”. Many agreed that this was Haile Selassie, crowned Emperor of Ethiopia in 1930 under the name Ras Tafari, whose Biblical lineage could be traced back to King Solomon and Queen of Sheba. When Selassie visited Jamaica in 1966, his plane was met by hundreds of spectators, including dozens of natty, dreadlocked “Rastafarians”, proclaiming his divinity, citing Revelation 5:5 “See, the Lion of the tribe of Judah, the Root of David,” and 17:14 “…for he is the Lord of lords, and King of kings”.</p>
<p>The Wailing Wailers trio (Bob Marley, Peter Tosh and Bunny Wailer) was one of the singing groups backed by the Skatallites and then by the Soul Brothers at Studio One in the early sixties. As they gained notoriety with hits such as “Simmer Down” and “One Love”, The Wailers became devout Rastafarians, spreading the message of “One God. One Aim. One Destiny.” Under the persuasion of executive producer Chris Blackwell, who had invested in The Wailers’ first full length album Burnin’, the three singers decided to pursue solo careers around 1974. Bob Marley shot to fame and became a champion of Rastafari, inspiring thousands of followers around the globe to embrace Rasta as their religion. Check out Marley’s <a contents="“The Lion Of Judah”" data-link-label="" data-link-type="url" href="https://www.youtube.com/watch?v=NDs0QOJ9Fy8">“The Lion Of Judah”</a></p>
<p>As political unrest exploded in the capital’s streets, a vibrant spiritual revolution was sweeping Jamaica. Reggae music of the 1970s became the voice of the oppressed, demanding equal rights and justice, juxtaposed with the Rasta doctrine of pure, natural living in the spirit of peace and love and fraternity. In addition, cannabis sativa had been introduced to Jamaica in the 1950s, earning an international reputation for its ideal climate for growing exceptional herb. Embraced by Rastas as a religious sacrament, smoking ganja contributed a euphoric inspiration to the alchemy of roots reggae music. At once militantly revolutionary and spiritually mystical, the resulting Jamaican “hit parade” created a vibrant music culture that went on to influence popular music around the globe.</p>
<p>Bob Marley spread the infectious music far and wide, along with his peers Jimmy Cliff, Peter Tosh and Toots Hibbert. Countless others became Jamaican superstars including Gregory Isaacs and Dennis Brown. Reggae music pulsed throughout the world, flying its red, gold and green banner right up through the 80s, when production began to incorporate cheesy synthesizer sounds. Artists such as the UK’s Aswad and Maxi Priest embraced the 80s sound, and while some great music came out of this decade, the raw, analogue Jamaican studio sound began to lose its potency, and with it its following. Towards the end of the 80s, the sound of “dance hall” began to emerge from Jamaica’s studios. Studio musicians became less important in favour of programmers who could create drum loops and play everything themselves. The music became much simpler, but maintained the ever-important hypnotic quality of the roots reggae that came before it.</p>
<p>“Toasters” began to “chat” on the mic, who acted as MCs throughout the 70s. This style became all the rage as young “DJs” such as Supercat and Shabba Ranks flooded the airwaves into the 90s. Forward to 2020 where Sean Paul is king, still lending that Jamaican sound to pop artists like Rihanna and Cardi B. </p>
<p>It is worth mentioning that roots reggae music purists have managed to maintain the legacy of its predecessors through what is commonly known as “modern roots”. Throughout the 90s and 2000s many young Jamaican and non-Jamaican artists alike have been producing some good music, but much of it lacks the passion of its reggae roots.</p>
<p>Speaking as a reggae aficionado, I like it all. Late 80s dance hall will always hold a special place in my heart, and while much of it was ‘slack’, much more of it was ‘conscious’ music, with a positive message. Reggae has always been, and always will be, “message music”. I & I use it for inspiration, to keep on going through hardships; the trials and tribulations that we all endure. It is the human condition that we all share in common that makes us one race.</p>
<p>This is why I sing: </p>
<p>Bring back real reggae music, I & I want some culture again. </p>
<p>Bring back roots rock reggae music, I & I want some teachings again.</p>
<p><iframe class="justify_inline" data-video-type="youtube" data-video-id="7aUXlDRBZwk" data-video-thumb-url="https://img.youtube.com/vi/7aUXlDRBZwk/mqdefault.jpg" type="text/html" src="https://www.youtube.com/embed/7aUXlDRBZwk?rel=0&wmode=transparent&enablejsapi=1" frameborder="0" height="180" width="320" allowfullscreen="true"></iframe></p>Andru Branch & Halfway Treetag:www.halfwaytree.ca,2005:Post/63068602020-05-06T15:33:04-03:002020-05-06T15:33:04-03:00Pure Love In Your Heart<p>Being an artist has its challenges; believing in the value of creating to start; having the discipline to bring oneself to the practice room, for the sculptor to bring her iron to the fire, for the writer to bring his pen to the page. One must have the self-discipline to make oneself available to one’s muse, day after day: “Here…take me. Use me as your instrument. Inspire in me what you must.” An added layer of patience exists for artists who require other artists to create their art, to collaborate in a given medium. This would be true of filmmakers, dance troupes and actors, to name a few. For instance, solo musicians can simply play their instrument, just as many songwriters can play and or sing their songs. But then there are those of us who must rely on a group of committed musicians to faithfully execute the delivery of each composition, performance after performance; rehearsal after rehearsal. There is a delicate balance that must be found in the ‘selection’ of each contributing musician. A songwriter must be confident that each collaborator invited into the fold will contribute a complimentary musical quality that is unique to their respective experience; what each musician grew up listening to undoubtedly influences how they play and what their unique experience will bring to the table. It is a delicate dance of sensibilities. The artist, in this case songwriter, hopes that each carefully selected musician will bring their creativity while maintaining the ‘integrity’ of the song(s).</p>
<p>Indeed birds of a feather flock together. Like-minded musicians tend to find one another, and oftentimes, quick chemistry creates a bond. We create subtle disturbances in air pressure together, alternately creating harmonies and dissonance. It can be likened to an orgasm in the sense that two separate entities together create a third energy. Now imagine adding three and four other musicians into this delicate mix, or an orchestra.</p>
<p>It is about balance. It is also about having a vision. One must recognize how many musicians and precisely what instrumentation is required to execute the symphony that only lives in your head. Your fellow collaborators cannot hear the cacophony of sounds that exist simultaneously to create ‘the song’, as the songwriter ‘received’ it from the ether, or whatever muse. Ideally, the invited musicians must trust the songwriter’s ‘vision’ of or for the particular song. Meanwhile, the songwriter must have faith that the collaborators will execute that vision without changing it too much, thus making it sound like something other than it was when it was ‘received’. At the same time, the songwriter has invited trusted colleagues to add their respective technique, approach, subtle nuances, and ultimately feel to the ‘mix’. And so it is a dance, much like Love, wherein small sacrifices have to be negotiated because no matter how much you have in common, your lover is ultimately not you.</p>
<p>The next layer in this terrine is leadership. I believe the foremost role of true leadership is inspiration. Those being led must feel inspired to act accordingly or human nature will not willingly follow. In my estimation, effective leadership requires ‘loving backbone’; knowing when to be steadfast and when to acquiesce.</p>
<p>So first, a songwriter must carefully choose appropriate collaborators, much like the ingredients in an exquisite meal. But then, the songwriter must surrender control over the trusted musicians to add their particular dash of ‘flavours’ or ‘colours’ to the concoction. The steward must gently guide the ensemble with words and music and sometimes gestures to a place where its conspirators feel free to play with their emotions; where they also feel taken care of, in a protected space where they feel respected to focus and create, adding their respective feelings through various techniques.</p>
<p>I have been very fortunate over the course of my career. I have endeavoured to be a respectful and communicative leader. In large part I have managed to play with many brilliant and celebrated musicians through my willingness to take risks, by ‘putting myself out there’. In truth I believe that it is about Love. Love is about trust and requires vulnerability. We must be prepared to fail, to have our respective hearts broken, for things not to work out, and to look and/or feel out of our comfort zone from time to time. Indeed sometimes I’ve landed on my ass but I have always got back up and dusted myself off, just as Peter Tosh used to sing. I have had the great fortune to play with many incredible, skilled and talented musicians over the years, and I never stop being grateful, even amidst my awe. I have been truly blessed with opportunities of a lifetime to play music with these afore mentioned singers and players of instruments, and to be able to listen back to both studio and live performances captured ‘on tape’ for eternity.</p>
<p>I wrote this song some time around 2005. I had been playing regularly with the great Jamaican bass player Brian Atkinson who I found living in Halifax. We had convinced each other to “quit our day jobs” and drive down to Florida to reunite with Brian’s <em>Studio One</em> colleague, drummer Joe Isaacs from the Soul Vendors. Accompanied by trumpeter Matt Myer and trombonist Eric Landry, we spent a couple of weeks rehearsing a set of <em>Studio One</em> material in Miami before we flew to Jamaica to embark on a Soul Vendors reunion ‘tour’. Our debut New Year’s Eve gig was cancelled and things degenerated quickly after that. The horns pulled out and quickly flew back to Canada, leaving me to make the best of a sticky situation with Brian and Joe. I didn’t last long under uncertain conditions, what with rent due back home and my then girlfriend left holding the bag.</p>
<p>Upon my return the horn section was enthusiastic about reviving the Halfway Tree band back in Halifax. The only man for the job of filling Brian’s shoes was a young Alec Frith. An already accomplished bass player and reggae enthusiast, we spent significant hours studying the Halfway Tree repertoire together. We re-assembled the band with Alec leading the groove and pressed on.</p>
<p>Eventually, several months later, Brian returned to his home in Nova Scotia, understandably deflated. I however, was elated to have my great friend back and motioned for him to resume his post with the group. This did not go over well with the band. It didn’t seem fair to uproot Alec from his position. I did my best to act reasonably and respectfully but it was a difficult predicament that challenged my leadership.</p>
<p>Written from the heart at some dreadful point during this transition, “Pure Love In Your Heart” is certainly a reflection of much of what I have learned over the years:</p>
<p>You have got to be the best you that you can be </p>
<p>Or you’ll never be satisfied </p>
<p>I try so hard each and every day </p>
<p>No love in their heart </p>
<p>I & I defend righteousness </p>
<p>And I & I depend on your love </p>
<p>So won’t you hear me? </p>
<p>Where must I find the path of least resistance?</p>
<p>It’s somewhere along the road less travelled </p>
<p>The way of the peaceful warrior </p>
<p>Guide I & I in I travels </p>
<p>You’ve got to have </p>
<p>Pure love in your heart </p>
<p>We are all a part </p>
<p>Of this massive ball of energy </p>
<p>Hurling though space at a million miles an hour </p>
<p>We’re on a crash course, oh can’t you see? </p>
<p>Having the time of our life </p>
<p>You’ve got to have </p>
<p>Pure Love in your heart.</p>
<p><iframe class="justify_inline" data-video-type="youtube" data-video-id="VTXi1NnxXI4" data-video-thumb-url="https://img.youtube.com/vi/VTXi1NnxXI4/mqdefault.jpg" type="text/html" src="https://www.youtube.com/embed/VTXi1NnxXI4?rel=0&wmode=transparent&enablejsapi=1" frameborder="0" height="180" width="320" allowfullscreen="true"></iframe></p>
<p> </p>Andru Branch & Halfway Treetag:www.halfwaytree.ca,2005:Post/63055022020-05-05T13:51:02-03:002020-05-05T13:51:03-03:00Keep Trodding Along<p>Before the world came to know Bob Marley, the teenaged Robert Nesta Marley comprised one third of a singing trio called The Wailing Wailers. Alongside his Trenchtown neighbours Winston (McIn) Tosh and Neville Livingston aka “Bunny Wailer”, all three would go on to enjoy lucrative solo careers. Amongst what became Tosh’s impressive catalogue was a song called “Reggaemylitis” (1981), describing the infectious allure of reggae music. I caught the bug at the age of 13, the same year Marley died. I distinctly remember lying in bed, listening to the radio, when his passing was announced. I stayed up all night as they played his whole discography.</p>
<p>I had been learning to play the tenor saxophone in school and had developed a strong affinity for music. I especially loved classical music but was beginning to enjoy the sounds of “two-tone ska” emanating from the UK. I gravitated to the defiant spirit of this unique, up-tempo beat that resonated with teen angst. I watched <em>Quadrophenia</em> and began attending parties dressed as a “mod”, where local punks and skinheads comingled, discovering their sexuality and bashing one another in mosh pits around Toronto. The soundtrack began to include some Bob Marley and the Wailers tracks amidst the Madness, Bad Manners, Specials and Selecter; “the English Beat”.</p>
<p>I began to expand my horizons, as I jammed with a couple of high school friends, imitating the sounds of The Police and The Clash in a ‘band’ we called Oddio for a brief moment in time. Eventually I recruited some lads at Lawrence Park Collegiate to form my first reggae band “Souljah”, an awesome name for a reggae band to this day. We placed second at our first gig, a ‘battle of the bands’ at <em>The Concert Hall</em>, a former Masonic Temple on Yonge St., and our second gig had a huge line up to get in, since the owner of <em>Branko’s</em> couldn’t allow a throng of under-aged high school students into a licensed venue.</p>
<p>Before long I found a kindred spirit in young Jason “Casper” Wilson. He grew up in the multicultural neighbourhood at Keele and Sheppard, in the shadows of local reggae pioneers Rupert and Carl Harvey. Rupert founded iconic Canadian reggae band Messenjah while brother Carl would go on to lead Toots Hibbert’s band The Maytals. Jason found himself in good company for learning the craft. As Casper’s talent for music grew and flourished, Messenjah invited him to sit in for their keyboard player Hal “The Saint” Duggan aka Lazah Current, who was sitting in on bass for their charismatic front man Errol Blackwood. It was at this gig that Jason and I would meet and forge an important friendship.</p>
<p>We went on to form a pretty good little reggae outfit called Jericho, in which we switched back and forth from keyboards and harmony vocals to lead singer. Several of Jason’s early original compositions had a lasting impression on me, not the least of which was “Keep Trodding Along”. When I signed my first recording contract with independent Jamaican recording studio <em>Kingston Muzik</em> in 1996, I asked Jason’s permission to record this song.</p>
<p>When I arrived at <em>Kingston Muzik</em> from Toronto, the CEO welcomed me, asking which musicians I would like to work with, to which I cockily replied, “The Wailers”. I hadn’t imagined that Bob Marley’s bass player Aston Barrett would materialize to lift up Jason’s track (and six other tracks on the album) to earn a Juno nomination for “Best Reggae Recording” at the turn of the millennium! I love the mix on this recording; a collaborative effort between UK studio engineer Paul Hussey, myself, and Jamaican sound engineer Otto Lee-Wilson. This song still stands out to me as a quintessential reggae track, with its super cool intro that leads us to the encouraging message to “Keep Trodding Along”.</p>
<p><iframe class="justify_inline" data-video-type="youtube" data-video-id="IJVKZSRKDXA" data-video-thumb-url="https://img.youtube.com/vi/IJVKZSRKDXA/mqdefault.jpg" type="text/html" src="https://www.youtube.com/embed/IJVKZSRKDXA?rel=0&wmode=transparent&enablejsapi=1" frameborder="0" height="180" width="320" allowfullscreen="true"></iframe></p>Andru Branch & Halfway Treetag:www.halfwaytree.ca,2005:Post/63044072020-05-04T15:19:00-03:002020-05-04T15:28:07-03:00Rocksteady<p>A major influence on my spiritual development was my friend Chris Hatton. We met early on in our respective music careers, converging at the point where reggae music began to inspire youths in ‘foreign’ to look to Rastafari for spiritual fulfillment. This magnetic young bass player took Rasta very seriously. I felt as though he took me to church and commanded reverence as he applied the same no-nonsense approach to both reggae music and the religion from which it was born. From his formative days as a bass player with a young band called Jah Youth, Chris went on to toast as “Friendlyman” with the progressive mixed-race Toronto-based band Culture Shock. “Friendly” went on to record a significant body of work, including perhaps his best-known track “Jah Rastafari”.</p>
<p>Coupled with our shared white cultural experience growing up in Toronto, we bonded over our love of Rasta music and all things Jamaican. I would show up at his studio apartment at Broadview and Danforth regularly, where we would smoke Jamaican ganja, read Bible passages and reason about Rastafari. When the time was right I invited Friendly to play bass with the original line-up of my backing band Halfway Tree, founded in 1995, where he led the music for a year and a half. Chris stands with the best amongst all of the reggae bass players I’ve had the pleasure to perform and/or record with.</p>
<p>Chris adopted the name DJ Friendlyness as he perfected his skills, spreading positive vibrations all over the city with his sound system Super Heavy Reggae. Friendlyness went on to assemble a top-ranking group of musicians that continue to carry the torch as Friendlyness and the Human Rights, featuring our mutual friend, colleague and mentor, all-star Jamaican keyboard player Bernie Pitters.</p>
<p>In 2010 I called upon Friendly to accompany me to Kingston on a last minute trip to record a new ska tune, somewhat ironically named “Rocksteady”. Recorded at legendary <em>Harry J Studio</em> in Kingston, this single takes us back to the golden era of Jamaican music. Featuring the original rocksteady drummer, <em>Studio One</em> pioneer, <em>Soul Vendor</em> Joe Isaacs, “Rocksteady” also features reggae Godfather Earl “Chinna” Smith on guitar. Soaring saxophones (courtesy of virtuoso Sean Weber), bubbling keyboards and playful harmonies paint a fun-filled soundscape for this celebratory testimonial, reminiscent of the days of doo-wop. The video is directed by my wonderful wife Jessica Marsh, and stars singer Katherine Langille on hula hoop!</p>
<p><iframe class="justify_inline" data-video-type="youtube" data-video-id="hO_Gg8mE6MM" data-video-thumb-url="https://img.youtube.com/vi/hO_Gg8mE6MM/mqdefault.jpg" type="text/html" src="https://www.youtube.com/embed/hO_Gg8mE6MM?rel=0&wmode=transparent&enablejsapi=1" frameborder="0" height="180" width="320" allowfullscreen="true"></iframe></p>Andru Branch & Halfway Treetag:www.halfwaytree.ca,2005:Post/63036832020-05-03T18:33:21-03:002020-05-03T18:34:39-03:00My Jamaican Weed<p>I have had a long relationship with marijuana. Like so many youths, I was introduced to the "hola herb" as a teenager in high school. A new reggae group called Messenjah was just starting to gain prominence on the Toronto reggae scene in the mid 1980s. The band had a real impact on me and I attended as many of their shows as I could, including one of their early performances at the little <em>Café On The Park</em> on Eglinton Avenue. To my surprise, a pale, skinny youth was filling in on keyboards named Jason Wilson. After introducing myself, this young white keyboardist and I connected through our shared love of reggae music. I have never been a heavy smoker, but I enjoyed my share of ‘bottle tokes’ with our band mates back when Jason invited me to play together in a young white reggae group they called Chester Peg. I found the black hash of the day much more hallucinogenic than the weed I started smoking as my circle of friends expanded into “Little Jamaica” in the Eglinton West neighbourhood of Toronto.</p>
<p>Jason and I went on to form another all white reggae group called Jericho, with some of my schoolmates from Lawrence Park. We performed as part of a ‘battle of the bands’ competition at Toronto’s famous blues club, <em>The Silver Dollar.</em> Among the competitors was a group called Solid Foundation. I was particularly taken with the bass and drum team of Tony Vernon and Mikey Flemmings, who reminded me very much of the Barrett Brothers; Carlton and Aston of Wailers fame, on whom I was now hooked. In time, I boldly approached Tony at his then workplace at Queen and Ossington. In short order, I was invited to join Solid Foundation, contributing keyboards and vocals, where I met Jamaican guitarist and bona fide “ganjaman” Derrick “Jah D” Lambert. From this moment on Jamaican sensi was but an arm’s length away and I would pass the ku sheng peng for the next ten years. </p>
<p>I grew accustomed to the gentle elation that came with Jamaican “Lamb’s Breath”, and relied upon its meditational allure to compose lyrics and music well into my twenties. I knew virtually no other strain of cannabis at this time. My friends and I would travel to every end of the city to secure a baggie of the dark green magical elixir, carefully cured and smuggled tightly into whatever container Jamaican drug runners could manage to get it across the border. As the song says, I took care not to abuse it, but I developed a true love affair with my muse.</p>
<p>When my Mom died I migrated to Nova Scotia, where she had finally secured her dream home after retirement. I slowly integrated into Halifax life but quickly learned that Jamaican Ishen was nowhere to be found. I mean nowhere. In my 20 years of living in the Maritimes I only came across it once! Don’t get me wrong. There was plenty of grass in Nova Scotia, but what my new friends were smoking was what I call ‘stupefying’, light green, skunky, ‘chronic’ weed. I couldn’t get over it. It was like my true love had left me and my only choice was to hook up with some skank; a term I reserve to describe the ‘scratch’ of the reggae rhythm guitar. Smoking this weed made me too high to write music; too stoned to do much of anything. Needless to say I didn’t enjoy it and I lamented the departure from my true love.</p>
<p>By 2002 I had begun playing music with my new friend Brian Atkinson, the legendary Jamaican bass player. He would tell me stories of sneaking out to the bread truck with his colleagues at <em>Studio One</em> to smoke ‘cotton’ between sessions. In response, I began making regular trips to Toronto to secure a supply of Jamaican collie, so that my bredren and I could find the proper meditation/inspiration to create the music found in this track, and many more. Herein lies my tribute to my love for My Jamaican Weed.</p>
<p><iframe class="justify_inline" data-video-type="youtube" data-video-id="akGUfolQe8A" data-video-thumb-url="https://img.youtube.com/vi/akGUfolQe8A/mqdefault.jpg" type="text/html" src="https://www.youtube.com/embed/akGUfolQe8A?rel=0&wmode=transparent&enablejsapi=1" frameborder="0" height="180" width="320" allowfullscreen="true"></iframe></p>Andru Branch & Halfway Treetag:www.halfwaytree.ca,2005:Post/63027082020-05-02T15:45:21-03:002020-05-02T15:45:21-03:00Best Friend Girl<p>In 2010 the annual Evolve music festival was awarded CBC’s “Best Music Festival” in Canada. It became the highlight of the summer for many Maritimers, myself included, and was a splendiferous introduction to the East Coast following my move from Toronto. I performed there three times over the festival’s glorious lifespan, beginning back in 2003, when I had the great fortune to play alongside one of the legendary bass players from Jamaica’s famous <em>Studio One</em> recording studio. Brian Atkinson had hung up his bass for some time before I met him working as a bus driver for Metro Transit in Halifax. I was guided to him by a now dearly departed friend and colleague, Lynn Horne; an introduction that would change my life, for which I will be forever grateful.</p>
<p>Attending Jamaican house parties and dances in my teens back in Toronto, I had been exposed to some great old classic <em>Studio One</em> hits, like Dennis Brown’s “Here I Come”, which would ‘mash up the dance’ every time it was played, and rewound again. At that time I could not have foreseen that I would befriend the <em>Studio One</em> bass player who’s bass lines helped to define the genre, let alone play with him day in and day out for many years to come. Under the tutelage of Brian’s kind and gentle soul, I grew increasingly more familiar with the <em>Studio One</em> catalogue of classic Jamaican reggae. Brian’s bass line in this song “Best Friend Girl” is undoubtedly reminiscent of the golden age of Jamaican reggae’s hypnotic and infectious bass lines.</p>
<p>Rewind back to Evolve 2004, near Antigonish, Nova Scotia, where I was setting up my tent amidst a sea of happy hippies and ravers’ tents under a bright blue sky. A vision of a magical sprite came upon me, selling mushrooms, crowned with butterfly antennas fashioned out of copper wire. The wind carried her away, until I saw her again later that night. We spent the rest of the night basking in one another’s company, until the rain forced us to take shelter in our respective tents. When I awoke, the rain was pounding down and all the soggy hippies and jaw-clenching ravers were hurriedly packing up to drive away to seek refuge. I thought I’d never see her again.</p>
<p>Alas, when I arrived at work the following Monday, the sprite had sought out the bar which I tended on the Halifax waterfront and left me a note, including her number. Needless to say we talked well into the future, until she moved to Halifax so that we could be together. As partners we became best friends until one day she decided that she needed to move back to be with her family in Ontario. Brokenhearted, I penned this song in one sitting, in the empty apartment shortly after her departure. </p>
<p><iframe class="justify_inline" data-video-type="youtube" data-video-id="TIE_c5GEkns" data-video-thumb-url="https://img.youtube.com/vi/TIE_c5GEkns/mqdefault.jpg" type="text/html" src="https://www.youtube.com/embed/TIE_c5GEkns?rel=0&wmode=transparent&enablejsapi=1" frameborder="0" height="180" width="320" allowfullscreen="true"></iframe></p>Andru Branch & Halfway Treetag:www.halfwaytree.ca,2005:Post/62973042020-04-28T17:06:46-03:002020-04-28T17:12:06-03:00One Love<p><span class="font_small"><img src="//d10j3mvrs1suex.cloudfront.net/u/442553/6c297d5ce1a3cf3929b24d27ece89a4376e717e6/original/seeco-bob-andru.jpg/!!/undefined/b:W1sic2l6ZSIsIm1lZGl1bSJdXQ==.jpg" class="size_m justify_left border_" /></span>I have spent 35 years honing my craft as a recording artist. As a young white kid growing up in North Toronto, I couldn't have dreamt that I would have the great fortune to play and record with many of the most celebrated reggae musicians of all time. Like many young kids around the world, I was raised by a single mother. I was six when she started dating a black Jamaican intellectual, and like a little sponge I soaked up the culture and took up the mantle to defend equal rights and social justice. A quiet revolutionary, going against the grain of the sheltered neighbourhood in which I grew and studied music, I immersed myself in Jamaican culture, studying the works of Bob Marley, Peter Tosh and Burning Spear. Many subsequent trips to Jamaica taught me the delicate balance that is Rastafari; between natural living, rebel music and Universal Love. "One Love. One heart. Let's get together and feel alright." ~ Bob Marley</p>Andru Branch & Halfway Treetag:www.halfwaytree.ca,2005:Post/62844292020-04-16T15:55:34-03:002020-04-16T15:55:34-03:0025th Anniversary Album<p>Greetings friends and fans around the world! </p>
<p>I hope this communication finds you well, or at least recovering. My condolences to our brothers and sisters who are suffering around the globe. As world leaders begin to buckle under their incompetence, I am taking solace in my music and am excited to launch my collection of singles on Monday, April 20th. This new album is a compilation of singles that I recorded between 1995 - 2020, representing 25 years since I Branched out to name my roots reggae band Halfway Tree in 1995. I will share photos and stories along the journey to its manifestation over the coming weeks. I hope that you will tune in to follow along. It is my sincere hope that you will find some inspiration in the music.</p>
<p>One Universal Love ~ Andru Branch</p>Andru Branch & Halfway Treetag:www.halfwaytree.ca,2005:Post/62745182020-04-07T14:44:43-03:002020-04-07T14:44:43-03:00Oil Barren.<p>Each day the pandemic continues is another day our brothers and sisters die around the world. Each day the pandemic spreads is another day the US President opens his mouth, underscoring his ignorant incompetence, greedy selfishness and deliberate genocide. In an act of sheer negligence the horror clown recently deregulated CO2 emissions amongst US perpetrators. Not least of his idiotic recent moves was to assemble major US oil company CEOs to discuss billions of dollars of corporate support. Now is the time for governments to prepare to invest in a new green economy. We will need to unify to create work, employing millions of laid-off workers, constructing an efficient infrastructure of renewable energy. Leave the decaying dinosaur bones in the ground. CO2 emissions have already significantly decreased since planes have been grounded. Clearly, our universal common denominator is climate change. If we work together we can create an unprecedented economic stimulus package, creating jobs while cleaning up the environment. This is the only way forward for this beautiful planet, our only home, on the brink of extinction.</p>Andru Branch & Halfway Treetag:www.halfwaytree.ca,2005:Post/62693302020-04-02T09:28:36-03:002020-04-02T09:28:36-03:00Still At War?<p>Underprepared for a global pandemic with respect to personal protection equipment and life-saving medical supplies, both the US and Iran are engaged in threats and name calling. Is it a coincidence that these are the same two nations that downplayed the virus at its onset and were the slowest to enforce lockdowns and self-isolation amongst their respective citizens? Protect your borders yes, but concentrate on the people you are under oath to protect at home, alone in their homes. Invest in saving your respective countries. What more will it take for you to lay down your arms and make use of your finite resources? Focus.</p>Andru Branch & Halfway Treetag:www.halfwaytree.ca,2005:Post/62666002020-03-30T18:04:48-03:002020-03-30T18:10:03-03:00True Leadership <p>So-called "leaders" must remember that their job, above all else, is to represent the people they govern and to make responsible decisions protecting those they represent. It is truly abhorrent to witness selfish and arrogant world leaders, not leading by example but propagating a small-minded, selfish and fearful mentality. Mandate corporations to produce essential medical gear. Use your resources to protect your citizens. </p>
<p>My message to the 45th President of the United States: your disgraceful inability to lead has been a source of entertainment since you assumed power, employing every late night talk show host. You have gone from being a joke to becoming a liability. In this eleventh hour, move over so that someone might save the people you are supposed to guide and protect.</p>Andru Branch & Halfway Treetag:www.halfwaytree.ca,2005:Post/62638992020-03-27T15:20:00-03:002020-03-27T15:23:37-03:00Pandemonium<p>Dear Universal Family, </p>
<p>While it would have been difficult to predict the current state of the world on this beautiful planet, we have subconsciously known that something had to give. We have witnessed unprecedented violence propagated by fear and feelings of injustice, creating a climate of bigotry, mistrust and hatred. Leading scientists have been warning us for years about the impending devastating effects of global climate change. Yet, while it seems like the stuff of a Hollywood movie, here we are, standing on the precipice of potentially the greatest crisis humankind has ever faced. Different from war, because war can be stopped with the swiftness of a pen, it is the smallest micro-organism in control now. Perhaps Mother Earth has had enough, and now she is shaking the pestilence from off her back. </p>
<p>Recent developments have created a state of emergency and with it universal anxiety. What I have to offer is the gift of music. I have spent 35 years honing my craft as a recording artist. We could all use some uplifting music in these turbulent times. You can stream it here, download a song or album or join the mailing list for periodic updates. Send me a message. Let me know how it makes you feel.</p>
<p>Guidance and protection ~ Andru Branch </p>5:46Andru Branch & Halfway Tree