Over the course of three decades as a professional performer, Kaeshammer has developed a style that weaves threads of classical, jazz, blues, boogie-woogie, stride, and piano pop into a signature sound.

Kaeshammer has been nominated for seven Juno Awards, has received the West Coast Music Award for Musician of the Year and Entertainer of the Year, and has represented Canada at numerous Olympic ceremonies.

With The Warehouse Sessions (due out October 7th, 2022 via Linus Entertainment), Michael Kaeshammer and his trio, bassist David Piltch and drummer Johnny Vidacovich, are captured with live off the floor performances in Bryan Adams’ recording studio in performances that are electric and spontaneous.

The trio are battle tested: Countless gigs all over the world, hundreds of kilometers traveled and thousands of happy listeners. And on this album, you hear these three friends finding joy in making music with each other.

1. You Got It in Your Soulness
2. How Long Blues
3. Down By the Riverside
4. Caravan
5. Bourbon Street Parade
6. Quizas, Quizas, Quizas
7. Ain’t She Sweet
8. Ramblin’
9. The Preacher

This vibrantly alive, wholesome and justifiably craved for new album opens on the boogie-woogie of You Got It in Your Soulness and then, having requested some train beats, Kaeshammer gets exactly what he wants on the atmospheric, and aptly-named How Long Blues, and then we get their old school, raw blues-imbibed version of the traditional Down By the Riverside and then comes the drum-led, acutely-cultivated Caravan.

On this new album, much like, in all truth, all the music he has released since his 1996 debut album, Blue Keys, Kaeshammer keeps the grooves a’coming, and next brings us the infectious melodies within Bourbon Street Parade, the playful rhythms of Quizas, Quizas, Quizas, the upbeat and joyously delicious Ain’t She Sweet, the recording rounding out on the drum-led mastery of the hushed blues-funk tones within Ramblin’, coming to a close on a stridently impassioned The Preacher.

“When I play, I don’t worry about if it’s jazz or pop or classical or whatever; I just play what I hear and let the music decide what it wants to be,” Kaeshammer explains. “Sure, there are different styles, different eras, different approaches, but when you really look at it, it’s all just music based on 12 notes.”

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