Gig Seeker Pro


Band Jazz Folk


This band has not uploaded any videos
This band has not uploaded any videos


The best kept secret in music


"Trikes are Tops"


There's something about live jazz that just doesn't translate to shiny discs and black wax. So as I headed out to the Drake , I wondered how Tricycle could outdo in person what they'd committed to tape for the excellent Emerge And See.

Richard Underhill worked his way through a typical top-notch laid-back set while people filed in, ordered up a drink and waited for the main event.

Tricycle is something of an anomaly. As the foursome took the stage, main man Jayme Stone humbly walked over to a red leather chair, sat down and began to pick at his banjo. Now, really, how many jazz bands – outside of Dixieland – are centred around the banjo? The sight alone was enough to make you question any preconceived notions you might have about what jazz is or is supposed to be. Yet within a minute, the sound coming off the stage was so soothingly hypnotic that you really didn't give a shit.

It's really roots jazz. The band puts bluegrass into jazz structures so seamlessly that the symbiotic relationship appears predetermined at birth. If Miles Davis had done the soundtrack for Deliverance, this is what it would sound like.

The rhythm section grounds the band and gives the songs a propulsive groove that any funk fan could dig, as evidenced by For Joy In Three Parts, the opening song on Emerge And See. While Tricycle would scoff at comparisons with today's jam bands, they do share a certain aesthetic. But where many go off on lazy, self-indulgent tangents, Tricycle display restraint and a unique ability to reel the tunes back into a cohesive, satisfying whole.

Maybe it's the relationship between Jayme and guitarist Kevin Manaugh . The interplay between the two can be revelatory. Kevin's playing and tone are remarkable – it's like Pat Metheny dropped a handful of acid and listened to nothing but Jerry Garcia for a year.

As the set came to a close, those in attendance clutched their CDs (included with the 10-buck ticket), aware that they'd been witness to something new, something special. Breaking new ground in any genre is no easy feat, yet Tricycle has done so without even seeming to try that hard. Their live set served notice that Tricycle has arrived.  
- NOW magazine

"emerge and see"



Tricycle is a jazz/roots quartet built around the banjo, and while purists will cry "novelty", the result is anything but. Main man Jayme Stone is a master plucker who has successfully incorporated old-time bluegrass and folk into a free jazz construct that works wonders. The drumming by Kevin Coady and Paul Mathew's double bass at once ground the numbers and allow them to take off on visceral journeys any Deadhead could appreciate. Maybe it's the effect Bela Fleck has on his students, but Stone is really onto something here. It will have jam band fans doing cartwheels in the street, and hardcore jazz fans reexamining their priorities. See for yourself at the Drake Hotel tonight (Thursday, April 29) at 9 pm, or Friday (April 30) at 7:30.
- Now magazine

"CD review"

Cosmopolitan quartet Tricycle prove to be something of an all terrain musical vehicle on their debut record, Emerge and see. Much like Bela Fleck (although distinctly less over the top), banjo maverick Jayme Stone and his cohorts- Kevin Manaugh (guitars), Kevin Coady (drums and percussion), Paul Mathew (double bass) and guest Gordon Allen (trumpet)- expertly blur the lines between traditional roots forms, mixing and matching shards of sparkling bluegrass, rousing blues, tuneful pop and bold jazz with subtle precision and purpose. From the moment Stone's rolling five string kicks off the breezy opener, For Joy, there exists a sense the musicians are free to roam at will, unbound by convention, ultimately driven by random inspirational impulse. The truth, however, is that both Stone and Manaugh (whose interplay is telepathic throughout) never let the proceedings wander too far. Their compositions are sharp, spacious and sweeping, but always meticulous.
4 stars - Ottawa Xpress

"emerge and see"

Emerge and See
Tricycle | Independent Records

The first question may well be this: what's the banjo doing in a jazz context? And if that did not cross your mind, it does not matter. What Tricycle has done is to expand, and expound, music that is grounded in bluegrass and country into a larger framework that incorporates the harmonies of jazz and the verve of a happy pop tune.

If there is the certainty of a jazz aesthetic, it comes on “For Joy,” where Jayme Stone sets up a bluegrass motif, on top of which Gordon Allen lets his trumpet add the jazz dynamics. Kevin Manaugh weaves harmonic spells on the guitar with thick notes that flesh his improvisations and bring in a bright resonance. There is an undeniable beckoning to “Bedouin Blues.” Manaugh sets the tone; his notes have a sharp edge this time and as he roves the landscape he is given the impetus by Kevin Coady on drums and Paul Matthew on bass, with Stone dropping into the conversation to add the blues. “The Roads We Know” brings in several delightful surprises. The first is how to land a reggae rhythm. If that wasn't happy augury enough, Stone straightens it with his bow. His lines curve and curl, and yowl just a little, a tasty harbinger for Manaugh, who gets to the essence of the melody, juices up the lines, and passes it on to Stone and his banjo for some country strut.

Choosen as the 'pick of the week' - All About Jazz

"CD review"

Emerge and See
Tricycle | Independent Records

With artists like Béla Fleck and Bill Frisell broadening the musical landscape over which improvised music can dwell, is it surprising that a group should come along that blends some of their more worldly concerns with a certain element of pop hook and singsong-iness? Banjo player Jayme Stone and guitarist Kevin Manaugh do just that with their group Tricycle, and their inaugural effort, Emerge and See, manages to mine a roots music space that blends catchy hooks with a foundation for soloing that brings it to the fringes of jazz without ever fully entering it.

Stone has studied with banjo masters including Tony Trischka and, not surprisingly, Fleck himself. While he lacks the same kind of virtuostic technique of either, he does demonstrate the melodic sensibility and genre-busting tendencies of both. With a playing history in a variety of genres, his songs run the gamut from the reggae-meets-folk of “The Roads We Know” to “For Joy,” which, with its shifting time feels and Midwestern melodies, would not feel out of place on a Flecktones record.

But whereas Fleck's reputation has partly been built on a complex sound where time signatures change on virtually a bar-by-bar basis, Stone's tunes are humbler vehicles with fewer movements. Still, he knows a thing or two about melody, and there is a certain naïve simplicity in his writing that is compelling, as in the relaxed lope of “Murmur,” which could come from one of Frisell's Americana records, but leans more towards overt soloing than anything Frisell has done in years.

Like Stone, Manaugh is less about technical wizardry and more about economy, space and lyricism. Unlike Frisell, who shares similar concerns but nevertheless possesses a broader reach, oblique melodicism is replaced by a more direct approach that goes straight to the heart of a theme rather than skirt around it. While much of the beauty of Frisell is in the gradual revelation of ideas, Manaugh's more straightforward concept is equally engaging. As a writer he is less quirky, with “Corrib Theme” being a heartfelt acoustic ballad that would fit comfortably on a record by Martin Simpson or Martin Carthy and “Four Strikes” demonstrating a more authentically countrified disposition.

With bassist Paul Mathew and drummer Kevin Coady providing comfortable and unobtrusive support, Emerge and See also features some elegant work from guest Gordon Allen on trumpet, especially on “Sing It Right,” where he contributes some appropriately singable ideas.

Emerge and See is a solid début that clearly knows its space. It may not forge its way into altogether new territory, but what it does accomplish is to consolidate the diverse backgrounds of Stone and Manaugh into an approachable and engaging set that, like some of its primary sources, will have a broad crossover appeal.

~ John Kelman

Style: Fringes of Jazz

Review Published: September 2004
- Jazzviews (UK)

"Press Quotes"

“Tricycle is a band that bridges jazz and bluegrass - and everything in between - with smart compositions, playful jams, and a great sense of purpose. It's music that's difficult to describe, but easy to love.”
Andy Sheppard, host of CBC's afterhours

"Imagine a more chilled out Bela Fleck jamming with Trey Anastasio and the Americana side of Bill Frisell, and you're on Tricycle's track. 'emerge and see' is is an enjoyable and unpredictable ride."
Frets magazine

“Each track has something special, all anchored by the interplay between Stone and Manaugh and featuring outstanding banjo and guitar solos. The group obviously enjoys playing together and makes joyful music.”

"Inhabiting a no-man’s land somewhere between the land of jazz and the land of folk, Tricycle prove that musical intelligence and good clean fun need not be mutually exclusive concepts."
Duck Baker, legendary fingerstyle guitarist, columnist at Jazztimes

“It's really roots jazz. The band puts bluegrass into jazz structures so seamlessly that the symbiotic relationship appears predetermined at birth.”
NOW magazine (Toronto)

“Taking the banjo beyond the gates of bluegrass, across the musical landscape of jazz and around the world.”
CBC radio’s Fresh Air

“Jayme Stone leads the group armed with loops, bow and a hypnotic use of the banjo to anchor the band’s sound. ’emerge and see’ reveals a band gelling together, its complementary parts weaving together in sync, producing a spellbinding sound.”
The Echo, Hamilton

“ ..offers the listener not just a revolutionary banjoistic outing, but also a voyage into the environs of cutting edge experimental instrumental music. Highly recommended.”
Banjo Newsletter

“Tricycle has a rare ability to balance musical accessibility with genuine musical innovation.”
Jesse Stewert, Assistant Artistic Director Guelph Jazz Festival

"A beautiful album...Jayme Stone's banjo is something to behold and it mixes wonderfully with Kevin Manaugh's guitars."
The Spectator (Hamilton)

"Kevin Manaugh weaves harmonic spells on the guitar."
All About Jazz

"Tricycle prove to be something of an all terrain musical vehicle, expertly blurring the lines between traditional roots forms, mixing and matching shards of sparkling bluegrass, rousing blues, tuneful pop and bold jazz with subtle precision and purpose."
Ottawa Xpress - Various


Our debut CD, 'emerge and see' was released April 2004. The album receives heavy airplay throughout Canada on the CBC, Jazz FM in Toronto and College and community stations all over the country.


Feeling a bit camera shy


Tricycle began with Jayme Stone and Kevin Manaugh writing music for banjo and guitar that, while grounded in roots music, was open to a much wider palette of sound, emotion and influence. The two have since embarked on a musical friendship that from afar might sound like Steve Reich spinning an old jazz record in the backwoods. Out of this approach grew a body of music, a gathering of musicians, an eager audience, and now a debut recording, emerge and see, to connect them all.
Tricycle's vision is to play music that is composed with elegance, steeped in and yet free from tradition, and always expressed anew.

It's been a busy 2004 for Tricycle. After an incredibly inspiring  three weeks of studying and playing with Bill Frisell, Dave Douglas, Jason Moran and other jazz legends  at the Banff Centre of the Arts back in June, we returned home to Toronto to play a series of Saturday nights at Toronto's famed Rex Jazz Club. We then embarked on a successful tour of Ontario and Quebec this Fall. We're now taking  a few months off to write, record and plan a nationwide Spring tour for 2005. In the meantime, the band will be featured in two major american music magazines, Kevin and Jayme will appear in Frets magazine this winter and Jayme will grace the cover of Banjo Newsletter. In other news, Kevin was just awarded a Toronto Arts Council Composition Grant.

Tricycle recieves regular nationwide radio play on the CBC as well as Jazz FM in Toronto and community and college stations around the country. ‘emerge and see’ was chosen as the ‘pick of the week’ by All About Jazz and featured on the website’s front page. The record was recently chosen as one of CBC's Fresh Air's Favourite CD's of 2004.

The band is currently booking an extensive tour of the Canada and New England for Spring and Summer of 2005.

Jayme Stone (banjo) composes music and plays the banjo with an earthiness, quirkiness and vibrancy that’ll leave you with ears wide open, thinking, “that’s a banjo?” Jayme began playing eight years ago, learning the repertoire, technique and lore of old-time and bluegrass music. He has studied with banjo elders Tony Trischka, Alan Munde, and most recently, Béla Fleck. Jayme has received grants from the Toronto, Ontario and Canada Councils for the Arts for study, composition and travel. He has played folk, jazz, african, classical and free-improvised music with the likes of Tim Posgate, Nick Fraser, Jean Martin, Oliver Schroer, Lori Cullen, Jennifer Gilmor, Mansa Sissoko and Andrew Downing.

Kevin Manaugh (guitars) is a guitarist and composer engaged in jazz, roots, african and classical music. His career has taken him from Prague to Paris, Utah to Toronto. Kevin can be heard playing with Brodie West, Rob Clutton, Kelly Jefferson, Jonathan Marks and Julie Michaels. He has performed and recorded with songsters Reid Jamieson and Michael Johnston. Kevin pursued his formal music training at the Naropa Institute in Boulder, CO, where he studied with ECM pianist Art Lande and guitar virtuoso Tuck Andress. Kevin was recently awarded a Toronto Arts Council Composition Grant.

Kevin Coady (drums & percussion) hails from Newfoundland, where he began a love affair with things that make noise at an early age. He hasn’t stopped since, experimenting with the textures of percussion and playing with Big Rude Jake, Jack Zorawski and Joel Miller. He studied music with Andre White at McGill University and has performed at the prestigious Montreal Jazz Festival and the Sound Symposium in St. John’s. Kevin is interested in time travel, perpetual motion (it’s what he does best) and tricycles.

Paul Mathew (double bass) divides his time between acoustic and electric bass, guitar and voice, and has performed and recorded with several groups over the past eight years. Paul graduated from University of Toronto in 2002 with a Jazz Performance degree. When not with Tricycle, Paul can be found playing guitar with Zam-Cab (world-beat) and The Listener; acoustic bass with Dan Goldman and Craig Cardiff (folk-rock); and electric bass with Devin Stoneham (rock) and Exit Man (jazz). Paul also leads a pop-trio called myonlyday, where he sings, plays guitar and writes the music.