Gregory Hoskins with The Art of Time Ensemble

...featuring the beautifully-voiced Canadian singer-songwriter Gregory Hoskins...a unique musical experience that breaks down barriers between artistic and musical disciplines.
CBC Radio 2

Gregory Hoskins with The Art of Time Ensemble

The Art of Time Ensemble is closing its season in style as well as substance with the fifth edition of one of its signature “Songbook” projects (misleadingly titled Songbook 4) at Harbourfront’s Enwave Theatre.
In this outing, Canadian folk-rock singer-songwriter Gregory Hoskins chose 12 songs he would love to perform one day, Art of Time artistic director Andrew Burashko parcelled each piece out to a composer or arranger, then assembled a six-member band to make the music happen, with Hoskins supplying the vocals.
Adding on two instrumental-only tangos to bridge intermission time, Tuesday night’s opening performance turned into a very substantial musical feast, leavened by the usually word-shy Hoskins’ wry post-song commentary.
This is an intimate program, coming from Hoskins’ heart, and often focusing on interior journeys rather than extroverted ballads. And, from a purely musical point of view, the arrangements provide a wealth of emotional as well as intellectual stimulation.
In his introduction, Burashko explained that, with the financial and recorded-broadcast support of CBC Radio 2, he had asked each composer-arranger to “stay true to the song, then reinvent it.” In the listening, it was clear all the artists involved had risen to the occasion.
Jane Siberry’s opening “Calling All Angels,” as reimagined by Michael Occhipinti, became a true, atmospheric invocation. It was an alluring invitation into a rich, new musical universe where jazz, blues, tango, pop, folk and classical orbit each other as equals.
Leonard Cohen’s “Boogie Street,” took a detour through Tango Terrace. Cole Porter’s “Miss Otis Regrets” shed real tears, thanks to Phil Dwyer’s wistful arrangement. The ghosts were out in force for Aaron Davis’s eerie-and-bold reworking of Gordon Lightfoot legend, “Wreck of the Edmund Fitzgerald.”
Credit for the evening’s success also goes to the mix of jazz, pop and classical musicians on stage, including Burashko at the piano, Dwyer on sax, violinist Benjamin Bowman, cellist Amy Laing, Joe Phillips on bass and guitarist Justin Abedin.
This is one of those rare songbooks where everyone can find a point of interest.
The Toronto Star

Gregory Hoskins with Michael Ondaatje
Honorable mention to Gregory Hoskins who got the evening started by singing a slow high lovely version of the Mercer/Van Heusen 1939 tune “I Thought About You”, famously sung over the years by lyricist Johnny Mercer, Billie Holiday, and Sinatra. Hoskins, who performed with a fine band that featured electric violin virtuoso Hugh Marsh, after Michael Ondaatje had just read the lyrics, proved to me at least that some words aren’t much with out music.
Showtime Magazine

Gregory Hoskins
The King Of Good Intentions

A largely unsung figure of the Canadian folk-rock scene of the '90s when
accompanied by his band,The Stickpeople, this marks his first official
solo album. As part of his continuing adjustment to life as an indie artist,
Hoskins here strips his sound to the bare bones, mainly his acoustic guitar
and a sparse rhythm section. The simplicity definitely suits the songs,
which Hoskins admits in his liner notes encapsulate a recent reassessment of
his style. At times, they reflect the solemnity of Daniel Lanois (without
the studio effects) and the bounciness of Paul Simon (without the 20-piece
backing band). Such comparisons are largely based on Hoskins' brand of quiet
soul, which is truly at the heart of this album. His voice is haunting
throughout and his lyrics speak of the hard lessons he has obviously learned
over the last decade. The King Of Good Intentions is a welcome
re-introduction to this gifted Canadian songwriter. (Independent)
Jason Schneider Sep 2001 Exclaim

In a month where WWIII loomed, in an idyllic environment surrounded by
newborns and generational interaction, it was hearing Gregory Hoskins lead
the crowd in Cohen's "Hallelujah," Sarah Harmer sing the eulogic "Goin’ Out"
and witnessing the towering force of inspiration that is Ken Whiteley that
brought unexpected tears of joy to any music fan who'd thought they'd seen
everything.
By Michael Barclay Sep 2006 Hillside Festival Review, Echo



This is, quite possibly, the best Canadian album you've never heard. Released in 1993, this collection of 11 songs is stunning in quality, emotion, and solid musicianship, all written by Gregory Hoskins.
Fat Paulie, on Raids on the Unspeakable



…it’s nice to hear songs instead of just sounds…
Now Magazine, NNNN



...timeless...
The Record, Moon Come Up




...a pick to click...
Billboard




Hoskins takes himself seriously…he calls his songs “pieces”. But given
an excellent voice and songwriting brilliance, his ego may be justified.
The Edmonton Sun



…another man took to the stage and he blew us away…
Stuart Maclean, The Vinyl Café, CBC