Bio
Kate Bevan-Baker: Kate was destined to be a musician ever since she was in the womb, when her father would play his trumpet with the bell pressed against her mother's pregnant tummy. Formal music training didn't begin, however, until Kate was 4 years old and started taking violin lessons. Her Scottish and Newfoundland heritage quickly emerged when Kate found a love for fiddle music. Balancing both styles throughout her life, she has released two solo CDs, represented Newfoundland at the National Music Festival in 2009, completed a B.Mus in violin performance from Memorial University of Newfoundland, and a Masters in solo violin performance from McGill University. Kate also has a love for jazz music, and released a CD of vocal standards in August, 2009, which was nominated for jazz album and female vocalist of the year at the PEI Music Awards the following year.
Kate's career in violin has taken her to Russia with the Memorial University Chamber Orchestra, across Canada twice with the National Youth Orchestra of Canada, to China for the World Expo 2010 with rock band, Hey Rosetta!, playing with Michael Bublé at the 2010 JUNO Awards, and playing Concertmaster under Maestro Kent Nagano in 2011. Since moving to Montreal, Kate has enjoyed the many performance opportunities that have come her way. She is a member of Montreal-based women's choir, Concerto Della Donna, and is heavily involved with the newly formed all-female string quartet, Birds On A Wire, comprised of classically trained players sharing an interest in other musical styles such as celtic, bluegrass, rock and jazz, and dedicated to stretching the boundaries of typical string quartet playing. Kate studies with Mark Fewer in Montreal, teaches privately, and freelances with various symphonies and chamber groups around Montreal and Canada. She has most recently performed chamber music with Joel Quarrington, Steven Dann, Marc Johnson, Mark Fewer and Andrew Burashko at the Festival of the Sound in Ontario, and Sound Symposium in Newfoundland.
Thomas Carbou: Guitar player, composer, arranger, producer
Prolific musician, he experiments every kind of music : jazz, traditionnel & world music, elctonic music, folk
Always looking for new sounds, he plays a wide variety of instruments :
- custom 8-string guitar (by Martine Montassier)
- electric & acoustic guitars
- percussions : kalimba, berimbao, cajon, frame drum
- samplers & laptop
He recorded twelve CDs as a leader, two as a co-leader with the sax player Pierre Diaz and one as a co-leader with sax player François d'Amours.
Multiplying projects and musical encounters in France, Switzerland, Belgium, Spain, Vietnam, U.S.A, Canada... he has performed on stage or studio with Glen Velez (frame drums), Dave Liebman (sax), David Binney (sax), Ralph Alessi (trumpet), Lonnie Plaxico (basse), Lionel Cordew (drums), Gilad (percussion), Elisabeth Kontomanou (vocals), Carlo Rizzo (tambourin) Sylvain Luc (guitar), Pierre Diaz (sax), Ngoc Daï (vietnamese composer), Cao Ho Nga (Trung & Thap Luc), Nguyen Anh Tan (day)
Now living in Montreal since September 2003, he is pretty involved in the jazz scene, in playing with musicians such as François DAmours, Rémi Bolduc, Erik Hove, François Bourassa, Jim Doxas, Chet Doxas, Jean-Christophe Beney, Thom Gossage, John Roney, Frank Lozano and the french pop songs scene in playing with Caroline dÉté, Rachelle Jeanty, Geneviève Binette, Catherine Major, Aurélia OLeary, Sophie Beaudet & Moran.
Jim Doxas: Very much in demand, Montreal drummer Jim Doxas divides his time playing Oliver Jones, Sophie Milman, the John Roney Trio and the Chet Doxas Quartet. Jims work can be heard on well over 60 albums and soundtracks. His talents on these various recordings range from drummer, percussionist, and composer. In addition, he is also an established recording engineer. His musical versatility has also afforded him the opportunity to play in several Broadway productions as well as feature performances with symphony orchestras. Jim is a popular guest artist at jazz festivals worldwide. During the last several years he has been recognized in Canada by way of winning Felix Awards and Juno and Academy Awards, as well as Grammy Awards for the work he did on the film, Les Triplets de Bellville. Through the power of his startling invention, he makes the case that percussion can be as performative as a lyrical instrument. What distinguishes Doxas approach to improvisation is that he refuses to play it safe, allowing the moment to dictate the kind of framework that will contain, shape and guide the piece under consideration. He is astutely committed to the belief that significant music is always distinguished by what is left unsaid, the gaps of which inspire him to produce a highly original vocabulary of accents.
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