Buy Your Tickets For — Jaymz Bee's Caravan of Music
Look People
(1985-1994)
The Look People were a uniquely Toronto creation — an alternative rock band that somehow managed to be both delightfully quirky, ridiculously compelling and entirely musical. Formed in 1985, the original lineup featured vocalist Jaymz Bee, guitarist Andy Flinn, bassist Walter K., drummer Mike Weilenmann, and percussionist Great Bob Scott. Their first show was April 13, 1985, in North Bay, Ontario — and, true to form, they spent the next few months playing Toronto venues before heading off to Europe for a summer tour that somehow stretched into a three-year residency abroad.
The band’s lineup was as fluid as their sound. Flinn left after a Swiss tour and was replaced by Fabio Marc Baltensperger, then Scotsman Ged Hanley, who in turn made way for the towering six-foot-nine axeman Longo Hai. Weilenmann departed before their first recording, leaving Scott to juggle drums and percussion with aplomb. The original lineup recorded the EP Stop Making Cheese in 1986 in Switzerland, released back in North America on AMOK Records.
By 1988, after countless gigs — from tiny clubs to outdoor festivals with 20,000 screaming fans — the band was down to Bee and Scott, composing with producer Walter Zweifel. A new permanent lineup emerged in 1989: Bee, Scott, Clay Tyson (bass), Kevin Hearn (keys), Bazl Salazar (percussion), and Aardvark Q. Dardknarbles (guitar). Together, they recorded More Songs About Hats and Chickens and the acclaimed LP Small Fish, Big Pond, earning five CASBY Award nominations along the way. Salazar and Dardknarbles eventually moved on, paving the way for Longo Hai’s return.
The early nineties were a whirlwind. After the 1991 release of Boogazm, Look People embarked on their most successful European tour, crossed Canada twice, and reshuffled the lineup again — Tyson out, Chris Gartner in. In 1993, they played the side stage at Lollapalooza in San Francisco, sharing the bill with a then-unknown Rage Against the Machine, and quickly became favourites of main-stage acts like Pearl Jam, Soundgarden, and Red Hot Chilli Peppers. That same year, Crazy Eggs arrived, and the band became the house ensemble for CBC Television’s Friday Night with Ralph Benmergui, with Bee serving as music director and artistic consultant.
Their final bow came exactly nine years after their debut, April 13, 1994, at the Palomino Club in North Hollywood — a fitting bookend for a band that never quite fit any mold but always made its mark. Along the way, Look People welcomed an astonishing roster of guest musicians: Dave Bidini, Ray Montford, John and Chris Bottomley, Colin Linden, Tom Walsh, Richard Underhill, Bill Grove, Bob Wiseman, Holly Cole, and the enigmatic Nash the Slash. Nine years, countless adventures, and a catalogue that still brims with charm, wit, and pure Toronto eccentricity — that was The Look People. The band had a reunion for the Electric Eclectics festival 20 years after breaking up and are in talks about recording again. The band members have remained friends since they disbanded in the mid eighties. There is still talk of a reunion gig and a new recording at some point.
LOOK PEOPLE
The Royal Jelly
Orchestra
(1996-2006)
The Royal Jelly Orchestra was formed by Jaymz Bee in 1996, following the breakup of his nine-years as leader and vocalist with Look People. The band was quickly offered a spot on Molly Johnson’s Kumbaya Festival at Ontario Place Forum broadcast across the country on Much Music. The debut self-titled CD was released independently and then reissued by Leisure Lab/BMG as “Clint East Woody Allen Alda”. BMG also released “A Christmas Cocktail” and a handful of promotional CD’s to media and bars across North America. The band’s best-selling and most popular album, 1997’s “Cocktail: Shakin’ and Stirred”, featured lounge interpretations of classic Canadian rock songs, ranging from Rush and Guess Who to Crash Test Dummies and Alanis Morissette. Some of the vocalists featured on the disc were Tim Tamashiro, Melleny Melody, Kyree Vibrant, The Beehive Singers, John Alcorn, Big Rude Jake and John Southworth. The band toured The U.S. once and Canada three times.
The core of the band for many years consisted of Bee, Jono Grant on piano and guitar, Great Bob Scott on drums, George Koller on bass, Sarah McElcheran on trumpet, Jim Bish on saxophone, flute and clarinet, Richard Underhill on alto and soprano sax and Colleen Allen on tenor sax and flute. Other members of The RJO over the years include: Brandi Disterheft, Kevin Clark, Ross Wooldrdige, Terry Promane, Dave Dunlop, Alex Dean, Alexis Barro, William Carn, Christopher Plock, Robert Scott, Phil Kane, Victor Bateman, Curtis Lee, Stitch Winston, Jesse Baird and Justin Abedin.
A vast array of guest vocalists have also performed with the band, including Molly Johnson, Kyree Vibrant, Monika Deol, Ed the Sock, Moxy Früvous, Greg Keelor, Albert Schultz, Sophia Perlman, and Ralph Benmergui. Many singers, such as Michael Bublé, Alex Pangman and DK Ibomeka, have also gone on to do their own recordings and tours since guesting with the band. Other vocalists include Julie Michels, Jef “Vegas” Farquharson, Marieve Herington, Heather Bambrick, Michael Danso, Roger Clown, Heather Luckhart, June Garber and Lyne Tremblay.
After BMG, The RJO recorded “Life Of The Party” for LeisureDisc/Soundcore, followed by “Seriously Happy” for Wychwood Park. Their last album was entitled “Toronto Launch Pad”.
In the past two decades, The RJO has had multi instrumentalist Jono Grant, pianist Waylen Miki and guitarist Tony Quarrington acting as musical directors. Since 2012, The Royal Jelly Orchestra have not recorded but continue to perform at charity galas, corporate events, awards shows and big budget private parties.
The Royal Jelly Orchestra
The Deep Lounge
Coalition
(2002-2004)
Only Jaymz Bee could dream up a project like this — a lounge record of urban hits commissioned by Oglio Records in Los Angeles. The label handed him a modest budget and a wide grin, so Bee called up his childhood co-conspirator Dave Howard and together they cooked up a scheme: take the swagger and seriousness of early-2000s “crunk” and hip-hop, and reimagine it as smooth, martini-sipping muzak with just enough quirk to keep you guessing. Too musical to be parody, too tongue-in-cheek to be taken seriously — classic Bee territory.
They dove into the urban charts with reckless charm. “Independent Woman” turned out to be pure gold, thanks to Jennifer Valentyne’s cool, deadpan delivery — Beyoncé by way of a smoky after-hours lounge. Dave Howard crooned like a velvet assassin on “Ride Wit Me,” while Patricia O’Callahan, Dave Wall, Gino Empry, Big Rude Jake, and a host of other eccentrics added their own shades of mischief.
The supporting cast was an all-star gallery of Bee’s world: Sara McElcheran on trumpet, Great Bob Scott on drums and percussion, Rich Underhill on sax, Phil Kane on guitar, and the multi-talented Sahra Featherstone painting the edges with flute, violin, and harp. And of course, Dave Howard handled “everything else,” because that’s just what he does.
Highlights? How about Bee and Frank Nevada swaggering through “It Wasn’t Me,” Jef Farquharson barking up “Who Let The Dogs Out,” Clay Tyson giving “The Thong Song” a Michael Bolton velvet sheen, and the tongue-in-cheek “Southern Hospitality” — featuring a chorus of famous broadcasters, including Peter Kent, Mark Daley, and Steve Anthony.
Wrapped in Eric Morin’s clever cover art and framed by Graham Kennedy’s sharp photos, this record wasn’t just an album — it was a smirk, a martini, and a masterclass in how to have fun with music without ever dumbing it down. It did well on radio, especially morning radio in the USA, but didn’t exactly chart. Bee received notes from most of the composers – everyone heard their song covered and gave a nod of approval. Recorded at Chromocide Studio, Toronto, and as always with Bee, served chilled, never shaken.
The Deep Lounge Coalition
Bonzai Suzuki
(2011-2015)
Bee’s creative compass has always pointed toward the unexpected, and Bonzai Suzuki was proof of that. Formed with avant-pop wizard Dave Howard, the band was a mash-up of pop, performance art, and joyful lunacy. Their self-titled debut dropped in the summer of 2011, followed by Everything Leads To Everything Else — a fitting title for a group that seemed to connect dots most people didn’t even see. The album title was taken from a line in a song about their hero, poet Robert Priest – from the song of the same name.
The spark came after Jaymz and Sahra Featherstone caught an episode of the BBC’s surreal comedy The Mighty Boosh and fell in love with its “crimping” poetry — oddball rhythm and rhyme meets musical mischief. Howard dove in as co-writer and producer, sculpting Bee’s lyrical whimsy into something that somehow made perfect sense. Add in Great Bob Scott on drums, Brandi Disterheft on bass, and Legs Mahoney (yes, a dancer in the band!), and you had a lineup built for the theatre of the absurd. The band played a handful of shows in Toronto including The Painted Lady, Lula Lounge and a couple shows at Massey Hall for the New Years Even comedy extravaganza – and quietly disbanded after two albums.
Guest vocalists rounded out the fun — Barbra Lica, performing as Bubz MaGoo, and Genevieve Marentette, aka GeeGee — both bringing their signature sass to the project. Bonzai Suzuki was more than a band; it was a celebration of eccentricity, a reminder that music could be clever, unpredictable, and still rock out on occasion.
Bonzai Suzuki
The Tiki Collective
(2015-2022)
The Tiki Collective: MUSE 2018 Vesuvius Music Inc.
The Tiki Collective was one of those ideas that lived in Bee’s imagination long before it ever hit a stage. He envisioned a lush, lounge-inspired world where jazz, exotica, and pure whimsy could meet under the same palm tree, bringing Polynesian flair and serious musicianship to packed rooms of smiling converts.
Their debut album, Muse, was an ambitious affair — fifteen remarkable female vocalists, an all-star band, and Bee’s signature mix of humour, heart, and vintage cool. Co-produced with his long-time creative partner Jono Grant — the multi-instrumentalist magician behind so many of Bee’s best recordings — you can hear the camaraderie in every track — the kind of chemistry you don’t fake. Recorded by by Julian Decorte and Jeremy Darby, the record didn’t just launch the band; it announced a whole vibe.
If you know Jaymz Bee, you know he’s got a soft spot for ideas that sound just crazy enough to work. The Tiki Collective is a perfect example — a shimmering blend of jazz, exotica, and pop that feels like it’s been chilling in your subconscious for decades, just waiting for the right night to come out and play.
Bee dreamt up the concept years ago: a sophisticated lounge ensemble where torch songs meet tiki torches — and where the band wears its cool like a well-tailored Hawaiian shirt. With guitarist Eric St-Laurent as musical director, The Tiki Collective began playing live shows around Toronto in 2015, quickly earning a reputation for turning any venue into an instant escape from reality. Lula Lounge, The Horseshoe Tavern, The Painted Lady and Hugh’s Room were just a few of their favourite venues.
Their debut album, Muse, was a lush, intoxicating affair — fifteen remarkable female vocalists interpreting songs with a mix of elegance and playfulness. Co-produced by Bee and his longtime partner-in-groove, Jono Grant, the album featured an all-star cast of musicians and a vibe that was equal parts sunset mellow and cocktail party chic. The project also marked Bee’s first collaboration with executive producer Lorenzo DiGianfelice, whose good energy and belief in the music radiated through every track.
Recorded by Jeremy Darby at Canterbury Music Company, Muse wasn’t just another concept album — it was a mood, a place, a world. The follow-up,
Anthology, took things even further. With George Koller and Jono Grant sharing production duties, plus elegant arrangements from Drew Jurecka on violin and Robert Scott on keys, the sound blossomed into something cinematic. Recorded at Number 9 Studio and mixed at Victory Drive Recording, it’s a record that feels both tropical and deeply Toronto — a cocktail of world-class players, local spirit, and Bee’s unmistakable sense of play. The concept was to make a compilation album from six albums, even though they only recorded two albums at the time. Themes included Brian Eno, James Bond, Ennio Morricone, classic exotica instrumentals and a couple Muse remixes. Their spy jazz songs inspired an entirely new project and album called Music For Secret Agents. They never got around to finishing the Morricone and Eno themed-albums.
The Tiki Collective isn’t just a band — it’s a mood, a movement, and a reminder that cool can still come with a wink and a smile. The result was an even deeper exploration into that lush, cinematic lounge atmosphere — part cocktail hour, part dream sequence.
With every performance, The Tiki Collective reminds you that cool isn’t about nostalgia — it’s about intention, space, and groove. The music swings, sways, and invites you to slow down, sip something tropical, and remember that art can still be fun, seductive, and wildly original.
Tuk
(2017-2018)
Back in the late eighties, Bee found himself in Switzerland collaborating with Carlos Perón on a handful of recordings, most notably the album Impersonator II. Jaymz wrote the lyrics and lent his voice to tracks like “A Dirty Song,” “The Hate Song,” and “10,000 Zippers.” He’d already spent time with the other original members of Yello and was a huge fan of their sound, so when he first heard Perón’s solo work, he was impressed but not the least bit surprised — the sonic textures were unmistakably heavy, inventive, and utterly unique.
Fast forward to 2016: the two reconnected on social media. Carlos sent Jaymz a sample of a new track he was working on, and without being asked, Bee wrote lyrics, recorded them into a decent home microphone, and sent them off to Germany. Carlos, ever the sonic wizard, treated the vocals with effects, wove them into the music, and turned it into a full-fledged masterpiece. All songs were music by Carlos Perón and B.T. Lawrence, with lyrics entirely by Jaymz Bee.
Before long, that spark of collaboration had grown into a full debut album: TUK (pronounced “toque” or “toook”). Since then, Bee has continued the adventure, producing music videos with Jason J. Brown, including the socially charged “Guns Kill Guns” and the delightfully spooky/hilarious seasonal hit “Zombie Angel Poetry Slam.” It’s a partnership that proves Bee thrives at the intersection of mischief, melody, and a little bit of sonic chaos — exactly where he belongs.
Cinematic instrumentals pulsing with that unmistakable European edge — part noir, part night club, part fever dream. The result? A six-track adventure in atmosphere and attitude — Bee’s voice riding those dark, hypnotic grooves like a poet on a spaceship. He even brought in a few guest vocalists to add texture and surprise, weaving Toronto soul into Perón’s German precision. The sessions spanned continents; vocals tracked in Toronto, music built in Germany…all stitched together during the strange, suspended days of the COVID years.
It’s the sound of two artists locked in a long-distance dialogue, conjuring emotion out of isolation. Equal parts experimental and intimate, the project proves that even when the world hits pause, creativity doesn’t — it just finds new frequencies to travel on.
MUSIC FOR SECRET AGENTS
Jaymz has always carried a torch for that other JB, James Bond, so he pulled his favourite players from the RJO and Tiki Collective, rounded up a small army of voices, and set the mission in motion: Jaymz Bee Presents: Music For Secret Agents. The touring crew—Irene Torres, Kyree Vibrant, Serafin LaRiviere, Gavin Hope, Simone Denny, John Finley and Adam James—lights up every stage they hit, while the recordings rope in June Garber, Carole Pope and Lee Aaron for good measure. The band’s dropped an album, keeps the singles coming, and works Ontario like a well-oiled spy machine. Originals, Bond themes, and groovy film-jazz from Our Man Flint to Spy—it’s all part of the dossier.
CURRENT RECORD LABEL:
Vesuvius Music INC / Records
(2017 - Still Going!)
Jaymz formed this label and production company in 2017 with Lorenzo DiGianfelice, a DJ and musician turned real estate mogul. They began with an album called “Muse” 2017 (The Tiki Collective) and then went on to do two other TTC albums, “Muse Re-Imagined by Walt Zweifel” and “Anthology”. They also released “Soul Singer” 2020 (John Finley) ,“Off the Carousel” 2021 (June Garber), “Tell Him I Said Hello” 2021 (Jocelyn Barth), “Jaymz Bee presents Music For Secret Agents” 2021 (various singers including Carole Pope and Lee Aaron), “Lou Pomanti & Friends” 2022 (Lou Pomanti), “Travesia/Voyage” 2024 (Irene Torres), “People Like You and Me” 2024 (Robert Priest) and “Songs of ’69” 2024 (Genevieve Marentette). They have plans to release a new album from Serafin LaRiviere and others in 2026.
VMI continues to produce albums. www.vesuviusmusic.com
PAST RECORD LABELS:
Nepotism Records
(1985-1988)
Jaymz formed this with his pal, Melleny Melody and this Indie label had a 3-F Manifesto. (Friends, Family or Fuck off!) They released three albums and then moved on…A Nepotism Family Christmas (variety album of holiday standards and original songs), Car Toons (Melleny Melody and The Syncopated Symphonies of John Henry Nyenuis) and Bee’s self-titled debut album with The Royal Jelly Orchestra.
Leisure Lab / BMG
(1997-1999)
Jaymz Bee had a record deal most musicians only dream about: his own boutique label under the BMG umbrella. Not just a home for his own recordings, Bee signed other talent too — like Tim Tamashiro, whose Wiseass Crooner album was produced by Dave Pierce. Tim ended up on tour with the RJO across Canada.
Bee’s first release on the label, Cocktails – Shaken & Stirred, remains his best-selling album to date: rock hits transformed into lounge classics, pressed not just in Canada but also the U.S. A few tracks even got the music video treatment — Alanis Morissette’s “You Outta Know” and Men Without Hats’ “Safety Dance” turned heads and raised eyebrows.
He followed up with A Christmas Cocktail and his original debut, remastered and renamed: Clint East Woody Allen Alda. When the president of BMG left for the States, Bee quietly folded the label and moved on, leaving behind a small but unforgettable legacy of clever, swinging recordings. It was one of the rare times he was in the right place at the right time. The band sold many albums and had huge tours, just before Napster, Apple and Spotify made large tours impossible, as kids stopped paying for music.
Leisure Disc
Bee’s next adventure in the music world was a modest little indie label he started with friends Glenn N. Smith and Brian Ainsworth, called Leisure Disc. Distribution was handled by the short-lived Soundcore, a company that promised much but delivered little.
The label released some gems: RJO’s Life Of The Party, the quirky delights of Vintage by Roger Clown, and the self-titled debut from The Beehive Singers. But as sometimes happens in the music business, the dream collided with reality — Soundcore went bankrupt and never paid a cent to the fledgling label. Forty thousand dollars of ambition, creativity, and hope — gone. A bitter pill, but one of those experiments that only Jaymz Bee could survive with a shrug and a smirk.
Timely Manor
Timely Manor was one of those small indie labels that existed for all the right reasons — passion, curiosity, and a love of music that didn’t care much for charts or trends. Jaymz Bee had a hand in the label’s story, shepherding recordings by some of Toronto’s finest musicians, including the brilliant bebop album “At This Time” from Kollage and “Need Another”, the luminous piano work of Nancy Walker. Other recordings included: Blossoming by Marieve Herrington, “Strands II” by Darren Sigesmund, “Pamalot” by Pam Hyatt and Peter Hill, “Babes In Jazzland”, “One Lucky Piano” and a self titled album from Colleen Allen.
The label was nimble, scrappy, and deeply personal. Every album felt like a conversation between artists who genuinely loved what they were doing, whether it was fiery jazz, inventive pop, or a song that simply needed to be heard. Timely Manor didn’t have the marketing machine of the majors, but what it did have was heart — the kind of heart that made musicians feel safe to take risks, experiment, and find their own voice. Fontana North distribution proved it was easier to sell off the stage than at retail – not their fault – the industry was starting to morph.
In a world dominated by big labels and slick production, Timely Manor was a reminder that music is, at its core, about connection, craftsmanship, and a little bit of daring. Albums like those from Kollage and Pam Hyatt weren’t just records — they were small victories, quietly celebrated, that still echo in the city’s musical memory.
One-Time Record Labels:
OTHER ALBUMS (one-off projects)
“Carl Strygg Sings The Classics” 1995 – Carl Strygg (Gold Toast Records)
“Improvisations” 2001 – Joel Garten (Caftan Records)
“Seriously Happy” 2004 – The Royal Jelly Orchestra (Wychwood Park)
“New Standards Vol. 1”2005 – Various Artists (JAZZ.FM91 Records)
“Pamalot” 2012 – Pam Hyatt and Peter Hill (Pamalot Music)
“21st Century Francks” 2013 Don Francks (Iron Buffalo Prod.)
“The Lounge Years” 2017 – Jaymz Bee (Happy Fingers Music)
Tuk “Tuk” 2018 (Dark Daze Music)
Jaymz Bee
"The Lounge Years"
2017 happy Fingers Music
To celebrate turning 55, Bee did what any restless creative soul would do — he released a time capsule of his favourite tracks, most co-written and sculpted with the ever-imaginative Jono Grant. The collection plays like a stroll through Bee’s own musical scrapbook — eccentric, heartfelt, and delightfully unpredictable. It arrived hand-in-hand with his poetry and lyric book Cosmic Fishing (Insomniac Press, 2017), a fitting companion for anyone curious about the words behind the melodies.
Most of the tunes trace back to his 1995 debut, that wild and inspired launch into the universe, with a few gems borrowed from his 1997 Leisure Lab experiment, Clint East Woody Allen Alda — a title as mischievous and layered as Bee himself. Together, the songs remind you that Bee has always been a genre unto himself — part poet, part prankster, and entirely sincere in his quest to make art that both provokes and uplifts.
The Lounge Years
2017
Happy Fingers Music
Marieve Herrington
"Blossoming"
2006 Timely Manor
Bee had the pleasure of producing her debut CD while Marieve was still a high school student — a heartfelt nod to the incomparable Blossom Dearie. From the first note, it was clear she wasn’t just imitating Blossom’s charm, she was channeling that same wry intelligence and musical wit. Her playful side shines on tunes like “Someone’s Been Sending Me Flowers” and “Everything I’ve Got,” where every wink and sly turn of phrase lands just right. Then she shifts gears, dives deep into “Lies of Handsome Men,” and suddenly you’re caught in the undertow — that tender, knowing sadness only a seasoned storyteller can deliver.
These days, Marieve’s got a full plate — thriving in Los Angeles as a sought-after voice artist, actor, and proud mom — yet she still carries that same sparkle, that same knack for blending sophistication with pure joy. Once you’ve heard her sing, you never forget that sound — it lingers like a good melody long after the record stops spinning.
Blossoming 2006
Timely Manor
Serafin Lariviere
"2AM At The Torch cafe"
2005 Timely Manor
Serafin’s voice is one of those rare instruments that stops you in your tracks — pure, haunting, with a shimmer of vulnerability that could melt the frost off a January morning. “Angelic” is a good starting point, but there’s something else at play — a film noir allure, smoky and mysterious, like a late-night whisper in black and white. Spin “Everybody Hurts” or “My Funny Valentine” and you’ll find yourself reaching for the nearest handkerchief, surrendering to the ache and elegance of it all. Serafin is non-binary, ok with pronouns, his/her or they. “I don’t care, it doesn’t matter, just be nice”.
This debut still holds its ground — time hasn’t dulled a thing. The arrangements by Waylen Miki bring a refined grace, piano lines that breathe and sigh in all the right places. Recorded at Rogue Studio with James Paul at the helm, the sound is intimate and cinematic. Since then, Serafin’s grown into a fine songwriter in his/her own right, but this first outing remains a portrait of promise fully realized — a reminder that some beginnings already sound like the middle of a great story.
2AM At The Torch Cafe 2005
Timely Manor
Albums produce and co-produced by Jaymz Bee :
Babes In Jazzland
"Babes In Jazzland"
2006 Timely Manor
Back in 2002, Jaymz Bee floated an idea to his friend Gigi that was equal parts retro inspiration and forward-thinking brilliance — an all-female jazz band. Sure, girl jazz bands were a “thing” in the forties, but Bee wasn’t after nostalgia; he wanted to capture the energy of a new generation of women reshaping the jazz scene. He reached out to some of the most talented young players and singers just stepping out of “scale school” — the jazz hotbeds of U of T, McGill, and Humber — and what came together was pure magic.
The singers’ lineup reads like a who’s who of Canada’s jazz future: Janelle Monique Dewhurst, Marieve Herrington, Sophia Perlman, Eliana Cuevas, Elizabeth Shepherd, and Genevieve Marentette — each one bringing her own shade of soul, sass, and sophistication. The band itself was a powerhouse: Ashley Weigh on piano, Jasmine Jones on drums, Christine Bougie on guitar, Lauren Falls holding down the bass, Shelkah Francis on sax, and Amy Medvick on flute — a fresh, fearless ensemble that swung with style and substance.
Their version of “Don’t Fear the Reaper” remains a showstopper — eerie, hypnotic, and cinematic enough to slip right into a Tarantino soundtrack. Recorded at Rogue Studio with James Paul behind the console and Bruce Burgess as Executive Producer, the project caught lightning in a bottle.
Looking back, it’s no surprise that every singer went on to make waves in her own right, and the instrumentalists continue to thrive as first-call side musicians — or leaders of their own projects. What Bee and company created wasn’t just a record — it was a statement: women in jazz weren’t just holding their own, they were steering the ship.
Babes In Jazzland 2006
Timely Manor
The Royal Jelly Orchestra
"Toronto Launch Pad"
2005 Timely Manor
The band laid this one down the old-fashioned way — pretty much live off the floor at Puck’s Farm, that legendary recording oasis where music and mischief coexist. It was a 12-hour marathon session — all day into the night — punctuated by long strolls through the barnyard, feeding goats, petting horses, and letting the rural calm reset the creative pulse. You can almost hear the fresh country air between the notes.
This is where Alex Pangman first recorded “Dead Drunk Blues,” a moment that would later take on a life of its own. She pressed it on vinyl and donated the proceeds to the New Orleans Musicians Relief Fund in the aftermath of Katrina. The record’s a treasure chest of moments: Michael Danso’s smooth, late-night swagger on “After Midnight,” and Jef Farquharson’s wonderfully cheeky croon through “Walking on the Moon”.
Engineered by Jameson Elliott and Walter Sobczak at Puck’s Farm, the sessions were later mixed at Rogue Studios and mastered by the ever-reliable George Graves at The Lacquer Channel — the sonic craftsman behind nearly all of Bee’s early catalogue. The lineup? A dream team: Waylen Miki on piano, Brandi Disterheft on bass, Great Bob Scott on drums, Kevin Barrett on guitar, Kevin Clark on cornet and flugelhorn, Colleen Allen on clarinet and saxes, and R.J. Satchinananthan on trombone.
And then those voices — Elizabeth Shepherd, Marieve Herrington, Genevieve Marentette, Alex Pangman, Jef Farquharson, Julie Michels, Lyne Tremblay, and Michael Danso — each one leaving their distinct stamp on the session. With Bruce Burgess steering as Executive Producer, what emerged was a record that captured not just the music, but the moment — spontaneous, joyful, and deeply human. A gathering of friends who just happened to make a damn fine record between feeding the sheep and chasing the sunset.
Toronto Launch Pad 2005
Timely Manor
The Royal Jelly Orchestra
"Seriously Happy"
2004 Wychwood Park
This RJO release was one of the rare moments when Bee had both the vision and the budget to match it. A proper big band session — the kind of project most musicians only dream about — with custom charts arranged by a stellar cast of contributors and tracked at the much-missed Reaction Studios, a room that seemed to hum with history even before the first downbeat. The guiding principle here was simple but profound: joy. Every tune on the album radiated it — unfiltered, unapologetic, the kind of joy that makes your shoulders drop and your feet tap without permission.
“When You’re Smiling,” sung by the incomparable Julie Michels to a sparkling chart by Ross Wooldridge, became a radio favourite almost instantly. It’s easy to hear why — that grin in the groove, Julie’s effortless swing, and the band behind her firing on all cylinders. The ensemble itself was a jazz lover’s fantasy draft: Dave McMorrow on piano, Great Bob Scott keeping it buoyant on drums, Brandi Disterheft walking the bass line with grace, Kevin Clark on cornet, Dave Dunlop on trumpet, the legendary Peter Appleyard on vibraphone, Christopher Plock doubling on baritone sax and flute, Ross Wooldridge switching between tenor and clarinet, Richard Underhill on alto, Tony Quarrington on guitar, Chris Gale on tenor, and Terry Promane on trombone. Executive Producer: Elaine Waisglass.
The singers’ lineup was just as rich — Dee Kaye Ibomeka, Alex Pangman, Big Rude Jake, Roger Clown, Jennifer Ryan, Sandra Caldwell, Christopher Plock, Great Bob Scott, and Julie Michels — each bringing their own colour and character to the mix.
Of course, it wouldn’t be a Bee story without a twist. Against his better judgment, the executive producer pushed for a remaster after the fact — and Bee, ever the perfectionist, wasn’t thrilled with the result. “It lost a little of the magic,” he’d say later, “but the spirit still shines through.” That experience taught him one thing: never again would an investor have the final say over his mix. Lesson learned — art first, always.
Seriously Happy 2004
Wychwood Park
New Standards Vol. 1
(Jazz Compilation Album)
2005 Timely Manor / Jazz.FM91 Records
Jaymz pulled together a little musical love letter to the city — over a dozen of his favourite instrumental tracks by local bands, each one hand-picked and donated straight from the masters for a compilation CD that raised money for JAZZ.FM91. There’s a sense of community here, of friends and neighbours sharing their craft, and it shows in every note.
Some of the tunes didn’t just shine — they soared. “Ladybug Waltz” by Heillig Manoeuvre had that sly, infectious swing that made you grin before you even realized it, while Daniel Barnes’ “Five O’Clock Shadow” became a bona fide radio favourite, threading its way into playlists and late-night drives alike. Other songs include “Muddy” by Tim Posgate, “Just Another Tune” by Archie Alleyne’s Kollage, Cowboy Bebop by David Braid, Pawpwalk by Ron Davis and The Good Earth, an instrumental tune by Laila Biali. This wasn’t just a fundraiser; it was a snapshot of a scene alive and thriving, a reminder that Toronto’s jazz musicians weren’t just keeping the music alive — they were writing the next chapter themselves.
New Standards Vol.1 2005
JAZZ.FM91 Records
One Lucky Piano
(Solo Piano Compilation)
2007 Timely Manor
Jaymz has often said that One Lucky Piano was one of the greatest pleasures of his recording life — a project born of sheer love for the instrument and the music. He spent nearly four thousand dollars of his own money to bring it to life, and then, in classic Jaymz fashion, donated all the proceeds from a thousand CDs to JAZZ.FM91. No strings, just generosity wrapped in sound.
The concept is simple but magical: Canada’s finest pianists, each taking a turn on the famous Yamaha that once lived at The Montreal Bistro, a piano that Oscar Peterson himself graced with his touch. And the results are nothing short of astonishing. Michael Kaeshammer, Robi Botos, and Adam Makowicz dazzle with their virtuosic flair, but every track is a gem in its own right, each pianist leaving an indelible signature on the keys. The collection also features John Sherwood, Ken Skinner, Nancy Walker, Joe Sealy, Waylen Miki, Jono Grant, Steve Koven, Brian Dickinson — and a couple of late, great masters, Norman Amadio and John Arpin, whose presence adds a bittersweet sparkle to the set.
Recorded at Rogue Studio with James Paul behind the console and Bruce Burgess serving as Executive Producer, One Lucky Piano is more than a compilation — it’s a tribute, a celebration, and a reminder that some instruments carry history, heart, and a little bit of luck in every note.
One Lucky Piano 2007
Timely Manor
Adam Makwicz
"Indigo Bliss"
2008 Timely Manor
When Adam sat down at the keys for One Lucky Piano, Jaymz Bee and his engineer James Paul didn’t just hear a great pianist — they heard something rare, something that demanded more than a single track. So they did what any generous Canadians would do: they handed him a free day in the studio to record his own album. Consider it Canada’s official “Welcome Wagon.”
Adam was already a star in Europe and America, and now, freshly arrived in Toronto, he had the perfect stage to introduce himself to a new audience. The result? A solo piano performance so effortless, so luminous, that it feels like it could make you smarter just by listening — and if your plants are nearby, don’t be surprised if they start reaching for the ceiling. Recorded at Rogue Studio with James Paul at the helm, it’s one of those rare recordings that leaves you grinning, inspired, and just a little taller in spirit. There is talk bout rereleasing this album digitally.
Indigo Bliss 2008
Timely Manor
Robert Scott
"Pianoptic"
2005 Timely Manor
Before Robert penned the hit “Hollywood” for Michael Bublé, he was simply a good friend of Bee’s — a quietly brilliant pianist with ideas bubbling just beneath the surface. Jaymz, ever the champion of talent, offered to finance Robert’s solo piano album, and the stars aligned when Robert Lowrey’s Piano Experts donated both a showroom and a piano. After hours, with the lights dimmed and the city sleeping, they recorded on a $250,000 Bösendorfer Imperial grand — a piano so grand it practically plays itself, though Robert’s touch made it sing in ways only he could.
The result is a recording of elegant restraint and exquisite nuance, with flashes of fiery brilliance and a subtle sense of humour threaded throughout. Every note testifies to patience, friendship, and impeccable taste. The cover art, a painting by Denise LaFrance, is equally thoughtful — understated, sophisticated, and perfectly suited to the music it represents. This wasn’t merely an album; it was a gift, a quiet vote of confidence in an artist whose moment was just beginning to shine. They continued to work together for years after this album was made. Robert passed away at 48 years young in 2024.
Robert Scott 2005
Timely Manor
David Statham
"Everybody's Talking"
2005 Timely Manor
David Statham had already made his mark on some stellar big band recordings, but he’d long harboured the desire to step into the spotlight for a solo project — and naturally, he turned to Bee to produce it. Jaymz, never one to skimp on talent, rounded up a dream team of Canadian jazz royalty — musicians so accomplished they all donned the Order of Canada like a badge of honour.
Recording the album was almost effortless — when your rhythm section features Joe Sealy (arrangements and piano), Dave Young on bass, and Terry Clarke on drums, the foundation is rock solid and worry melts away. Adding to the magic, Guido Basso’s trumpet glints, Peter Appleyard’s vibes shimmer, Jane Bunnett’s saxophone weaves through like silk, Randy Bachman adds his unmistakable guitar flair, and Barbra Lica graces a duet on “Baby I’m a Fool” that feels both intimate and timeless.
Recorded by Jeremy Darby at Canterbury Sound Studio in Toronto, the album is a masterclass in collaboration — a solo spotlight for Statham, but one that shines brightest with friends who are masters in their own right. It’s effortless, elegant, and very, very Canadian in spirit.
Toronto Launch Pad 2005
Timely Manor
Don Francks
"21st Century Francks"
2013 (Iron Buffalo Productions)
The late, great Don Francks — a true original whose voice and presence could fill a room before he even spoke — was captured live at The Top of the Senator over four unforgettable nights in 2002, recorded by Danny Greenspoon. This would become his final recording, featuring a stellar ensemble: Steve Hunter on piano, Brian Barlow on drums, George Koller on bass, and Alex Dean on saxophones. Don and his music director Steve Hunter created some truly unique arrangements and mashups of jazz classics. Bee went back to Top Of The Senator for every show, four in a row!
The album also includes a special bonus track: “Swingin’ On A Star,” recorded in 2013 at The Breath Studios by Jordan O’Connor, with Don joined by Tony Quarrington and Jaymz Bee — a joyful coda to a career full of charm, wit, and daring artistry. This trio went on to form Kazoo Travesty, a vaudeville inspired act that performed live but never recorded. Ray Irwin championed the project to ensure it saw the light of day, with all proceeds going directly to Don Francks himself. Though now out of print, this record remains a lasting testament to a man whose music, humour, and spirit are impossible to forget.
21st Century Francks 2013
Iron Buffalo Productions
Carl Strygg Sings
The Classics
(1995 Gold Toast Records)
Jaymz has always had a talent for spotting the beautiful misfit in any room, so it was no surprise when he coaxed a brave, slightly bewildered opera singer into stepping off the velvet-draped stage and into the wild, unpaved territory of Canadian rock classics. What followed was a session as unpredictable as spring weather on the Prairies—equal parts guts, laughter, and glorious wrong turns—ultimately yielding a record a certain critic dubbed “wrong and strong,” a badge the whole crew wore like a medal. Jamie Grant cooked up a cover that looked like a love letter to chaos, Graham Kennedy snapped photos, and Max MacDonald scribbled liner notes that read like poetry written on a bar napkin at last call. The band? A small army of Toronto’s finest: Kevin Hearn and John Henry Nyenhuis weaving melodic mischief, Great Bob Scott pushing the pulse, John Gzowski bending the edges on sitar, Tina Kirk on accordion and Jim Bish colouring the margins on saxes and flute, with Sahra McElcheran’s trumpet floating in like a late-night breeze—and more unnamed heroes than credits could reasonably hold. Together they tore into “One Fine Morning,” “Painted Ladies,” “A Criminal Mind,” “High School Confidential,” and even “Barracuda,” treating each tune like a dare and winning every one. Call it wrong, call it strong—either way, it’s a classic.