Powerhouse guitar, emotive lyrics, raw energy and a folksinger's heart - Cara Luft is a joy to behold in live performance. "She is a deep and funky wonder... muscularly musical." - Frank Goodman - Puremusic
Touring the UK in November 2008 and Summer 2009 Touring with Hugh McMillan - bass player with legendary Canadian folk-rock band, Spirit of the West.
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"Yes, Calgary's Luft is a Wailin' Jennys founder but so much more too. Think Julie Miller meets Gillian Welch on a lot of this, with an occasional bit of Linda Thompson tossed in. This could be very big." - John P. McLaughlin, The Light Fantastic
"... a truly lovely concert, brilliantly performed, and an artistic success. Cara and Hugh were delightful to work with inevery way, and were utterly gracious and professional every step of the way. I would be thrilled to have them back!"-Paul Symes, Presenter - The Black Sheep Inn, PQ
Cara Luft is a dynamic performer with deep roots in both folk and rock 'n roll, who got her start at age four playing autoharp and dulcimer in her family's band. Raised by folk-musician parents in the heart of the extensive and passionate traditional music community in Calgary, she was steeped as a youth in a setting of spiritual music, house concerts, folk clubs and festivals. A whole new world opened up when her parents gave her an acoustic guitar and she discovered Led Zeppelin.
"I just had the privilege to listen to a few tracks from Cara Luft's new album "The Light Fantastic." [These tracks] are indeed fantastic and I hope it is not too long before she graces our UK shores!" – Robert Mills, Maverick Magazine (UK)
An extremely accomplished guitarist and captivating singer, Cara is a highly acclaimed solo performer, her shows flowing with engaging, witty stories and powerful original and traditional songs. Her vibrant delivery and rock solid confidence make her a joy to behold in live performance. Clearly at home on the stage, she's a charismatic persobality who invites her audience into her world with a confidence and humility that is both rare and endlessly appealing.
She's touring the UK with Hugh McMillan, best known here as James Keelaghan's bassist but also for his spectacular work with legendary Canadian folk-rockers Spirit of the West. It's a true duo with High providing accompaniment with a twist; virtuoso electric bass and adept octave mandolin (and lap steel) with occasional effects, providing intricate countermelodies and chordal structures, and strong harmony vocals. Hugh's background cuts a wide musical swath, melding well with Cara's deep folk heritage and powerful energy. Their vocal blend is outstanding as is their combined sensitive instrumental work and overall sound quality. They are both seasoned players, and play fine instruments.
And of Cara's recording...
Cara's first full-length album, "Tempting the Storm"(recorded in 2000) was nominated for a Prairie Music Award for Outstanding Roots Recording. In early 2002 she co-founded the group The Wailin' Jennys, touring extensively and recording two albums including the Juno-Award winning "40 Days" (Best Roots Recording). She left the trio in late 2004 to return to her own writing and solo career, recording and mixing her new album "The Light Fantastic" between February and April 2006.
Assembling a cast of characters from some of Canada's top folk and rock groups – including producer Neil Osborne (54-40), multi-instrumentalist Hugh McMillan (Spirit of the West, James Keelaghan), violist/fiddler Richard Moody (The Bills), Winnipeg session drummer/percussionist Christian Dugas (Madrigaia, Alana Levandoski), and mix engineer Warne Livesey (Matthew Good, Midnight Oil, The The) – Cara's new album is a cornucopia of sonic delight. Her large and dedicated legion of fans eagerly awaits this newest creation. A bit of Carole King meets early Zeppelin with a dash of Sigur Ros, and songs ranging from country (There's a Train) to folk (Wilcox), roots rock (Falling Away) and traditional (Black Water Side), with a modern spiritual (Jerusalem), "The Light Fantastic" is a crossover album with excellent airplay potential. Her original songs are underpinned and anchored by finely honed evocative lyrics, the entire album replete with deft musicianship and sensitive, effective arrangements.
" This is Cara's first venture into recording since she left the Wailin' Jennys. I always wish the best to someone who leaves a going musical concern to pursue their own muse. Yet you can't help but also worry a bit that the admirers collected while part of said going musical concern will be disappointed in the new path. No such worries here. Cara recruited 54-40's Neil Osborne as the producer and together they have done her work proud.
The Light Fantastic is a collection of 13 strong songs showcasing Cara's two strongest suits - her guitar playing and her wonderful voice. It's much more contemporary and less traditionally influenced than her last solo effort, Tempting the Storm. That being said, one of the album's stellar songs, Lord Rosyln's Daughter, is very much traditional in sound and style, telling a story containing enigmatic riddles and a nefarious nobleman on a "milk white steed" out to steal the damsel's virtue.
A wonderfully produced and great-sounding album, The Light Fantastic is a great next step in the resumed solo career of Cara Luft." - Les Siemieniuk, Penguin Eggs
Discography
Cara Luft - The Light Fantastic (2007)
The Wailin' Jennys - 40 Days (2004)
The Wailin' Jennys - Self Titled (EP) (2002)
Cara Luft - Tempting the Storm (2000)
Cara Luft - Tradgedy of the Commons (EP) (1997)
Cara Luft - Train to Freedom (5 song EP) (1996)
"Cara Luft's been listening to the right stuff way out there in Canada, making a smart move in relocating to Winnipeg - a city I know of old. This third album shows an abiding love of good old Brit trad and a canny way of writing her own remarkable folk rock grooves. Obviously familiar with Hark! The Village Wait, (and why not?) she covers My Johnny Was A Shoemaker, and The Blacksmith, with enough cavalier spirit to treat them loosely though never rebelliously. Her own musings are genial, varying between sombre on Send an Oar, skirling on Run To Your Lover, and introspective on I Didn't Know. On the up escalator for sure." - Simon Jones, fRoots Magazine (UK)