Dylan Wickens Band - Canadian Blues

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Dylan Wickens Band

Written by John Taylor

Regardless of one's personal tastes and opinions on musical merit, it's inarguable that Stevie Ray Vaughan had a profound impact on the blues. If nothing else, we can thank him for introducing an entire generation to the genre - a generation that includes Toronto's Dylan Wickens.

"I did the backwards blues thing," says Dylan. "I was heavily into rock in high school, and at some point I became aware of Stevie Ray. I'd just started to play guitar, and Stevie, of course, was huge at the time. From there I started to investigate the guys he listed as his influences, and started getting into Albert King and Albert Collins."

Fortunately Dylan also found a little help closer to home.

"My uncle was into a lot of different music," he recalls, "and he spent a lot of time with me, trying to steer me in the right direction."

Dylan's quest continues, however. "He gave me a really fast-track musical education, but there are still tons of artists out there who are household names to some, but others only know of them in passing. So I'm still discovering new things all the time."

Most would agree that Dylan's discoveries to date provide a pretty solid foundation; he lists the aforementioned Mr. Collins, T-Bone Walker, Jimmy Vaughan, and jazz giant Wes Montgomery among his primary influences.

"Jimmy Vaughan has such a ballsy sound," says Dylan. "He's one of those guys who's not afraid to play a three-note solo - he's of the 'less is more' school, and that's where I'm at too. I've just been getting into Wes Montgomery for the past year or so, ever since Flip (Flip Townson, Dylan's sax player and musical foil) joined the band. Flip has a strong jazz background. He got me interested in applying jazz ideas in a blues context, and along with Charlie Christian, Wes is the guy. Lately I've been grabbing all the Wes Montgomery stuff I can find."

Dylan's development as a bluesman has by no means taken place in a vacuum, however, and he's quick to give thanks to the blues community in Canada.

"There are a lot of aspects to that," he acknowledges. "There are other musicians who've been particularly helpful; a handful of promoters; and the people from the Toronto Blues Society. Having done some work with other artists here and there, it's helped me establish some credibility, opened some doors to higher profile gigs (and better paying gigs).

"Big Daddy G has been great that way. He's one of those guys with absolutely no attitude who's always willing to help someone out… David Rotundo's the same. So it's just sort of a culmination of aspects, people from different aspects and different levels of the industry. There really is a sense of community, and if people feel there's some substance there they'll help."

And while he himself is still in the early stages of his career, Dylan's already had a chance to return the favour to some degree, as the organizer of a "Next Generation Of Blues" series featuring some of Southern Ontario's finest younger players.

"That was an idea I had on that back burner for a while. Being a younger player myself, sometimes it seems as though there's not as much marketing and promotion going on for younger players, at least in Ontario. So I wanted to do something to get the word out, to make people aware of some of the younger players, get them some attention. And since I already know so many of them it just seem natural to do it. So we put this thing on, and everybody played a set, and then we all played together. It went really well."

"I'm just trying to bring attention to the younger players," he continues. "There really aren't that many opportunities for blues musicians these days, and the media doesn't pay much attention to it."

Dylan admits he's been more fortunate than most. "We've been doing the circuit throughout Southern Ontario rather relentlessly, and I'm looking forward to expanding that a bit, heading down east and hitting festivals out west."

Dylan's excited about the impending release of his second CD, due out in February, 2003. He admits to mixed feelings about the band's debut, Shuffle This.

"I don't have to worry about playing guitar endlessly. I can concentrate on the songs. The goal is to make better music rather than establish a reputation as a guitar player."

"To be perfectly honest, if I'd had the budget there are things I'd have done differently," he says wryly. "I'm happy with the songs but I think the production is somewhat mediocre. There was definitely room for improvement, but having gone through that I learned my lessons."

"Shuffle This was recorded over a single 18-hour day, live off the floor. It gave us a certain vibe, but in the process we sacrificed a measure of sound quality. This time around, we waited until we had the budget to do things right."

The new recording will feature "11 or 12 tracks - I'm not quite sure as yet." With only a handful of covers, Dylan feels it will reflect the band's growth.

"Over the last few years, we've more or less been in transition. I think we've found our sound now - it's sort of a 'big band bop' without the big band."

Indicative of his musical maturity, Dylan's long been drawn to issues of tone and taste rather than the number of notes squeezed into a solo. Somewhat paradoxically, he credits his move from a trio to a four-piece band as giving him more freedom.

"I don't have to worry about playing guitar endlessly," he laughs. "I can concentrate on the songs. The goal is to make better music rather than establish a reputation as a guitar player. I'm still wrestling with the place of the solo, though. Live, of course, we play a lot more than we do on disc, but curiously the one criticism of Shuffle This was that there wasn't enough guitar work.

"When you're playing live, you do what's right for the moment, but when you go into the studio it's premeditated. You have to know what it is you want to get out of it."

Still, he won't compromise his own vision. "Ultimately, I believe I have to play the way I want to," he maintains. "But having said that, I'm still evolving, and I may well go back to playing more guitar."

Dylan credits his sax man, Flip Townson, with much of his band's success.

"Flip's from Vancouver, and since joining the band he's become an integral part of the act. He and I more or less share front-man duties, even though I'm the one with the mic. But behind the scenes he has a lot to say in terms of what we're going to play and how we'll play it." (Anyone who's seen the band live can't help but notice the musical affinity the two share).

And while there are inevitable substitutions on occasion - a fact of life for almost any outfit these days - Dylan's fortunate to have a regular rhythm section. Bassist "Harpo" (Darryl Peterson) has been with the band for a couple of years, and former Downchild drummer Greg Cooper, the newest member of the group, is settling in nicely.

Unlike many a typical "weekend warrior" for whom music, by necessity or design, is a part-time passion, Dylan's dedication to the blues is very much his life's work.

"Music is how I make my living," he states, "and I want to go as far as I can with it. I just want to keep playing, and keep getting better. The problem with the blues in Canada is that you hit a ceiling so soon. There are a handful that can break through that, but often it requires a bit of compromise, a nod to pop music. I don't have a problem with that per se, as long as it comes from the heart. But I'll always prefer to play blues."

Asked whom he admires on the Canadian scene, Dylan immediately names Jack de Keyzer. "For two reasons," says Dylan. "When he plays blues, he reminds me of Jimmy Vaughan. And he's one of those guys who can play any style of music, and play it so convincingly you believe that's all he does.

"Tortoise Blue - he's a fantastic harp player and a really good keyboard player as well. I like David Gogo with his acoustic thing. And of course I'm a Downchild fan. I don't know anyone who isn't!"

Dylan regards the Internet as a positive thing for musicians. "For artists like myself, it's a good outlet to promote with little cost and to reach the maximum number of people. And the whole networking thing, the Internet culture and the mailing lists help me know what's going on. I've even gotten the occasional gig via people I've met on the Internet."

He doesn't feel particularly threatened by the piracy issue. "Maybe it's just me, but I like to have that product in my hands. I think there's a sense of connection there, if I've seen a band and then bought their CD. I can only hope others feel the same."

A real, honest-to-goodness bluesman, Dylan Wickens is unswerving in his devotion and dedication to his craft. In that he may well be something of an anachronism. If so, God bless anachronisms!

© Copyright 2003 Feature by John Taylor Photo credits: Andie Maranda

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