Behind The Curtain: Manny DeGrandis
- Erin McCallum
- 1 day ago
- 5 min read
By Erin McCallum | The Sound Cafe Journal
Every edition of “Behind The Curtain” begins with an explanation; the purpose of this article is to provide readers with exclusive insight about the artists at the core of the Canadian Blues music Collective, and the Collective as a whole. This is achieved by researching notable artists, and subsequently applying an investigative approach to direct conversations with the artists featured in each installment. This method allows readers to gain in depth, enterprising insight that goes beyond an artist’s regular press release or bio. It is worth mentioning that all artists featured in “Behind The Curtain” have extensive biographies that are accessible via independent research. Given the purpose of this article, it is impossible to offer a complete biography of each featured artist within the confines of one column; it is always suggested that readers pursue a more comprehensive history of the artists under investigation. The information found here is included for the purpose of objectively justifying, and lending credibility to, the conversation.
This edition of “Behind The Curtain” features a member of the Canadian Blues Collective from Ontario, who has been part of the scene for decades: Manny DeGrandis. Although best known as a bassist, in his regular projects (most notably Glenn Marais and the Mojo Train) and as a substitute player, DeGrandis has been actively involved in supporting music off stage for years as well. Perhaps of most note, DeGrandis serves as an active Board member with the Toronto Blues Society, he is co-founder (alongside bandmate Glenn Marais) of MusicCan (a non-profit founded during the covid-19 pandemic that provides musical instruments and free lessons to underserved youth and remote Indigenous communities across Canada), and serves as the Musical Director for the house band for the Maple Blues Awards (recently re-launched as the Canadian Blues Music Awards). It is worth noting that prior to taking the torch held by Gary Kendall (who held the post as Music Director for the Maple Blues Awards for over 20 years), DeGrandis served the event as stage manager. Although DeGrandis’ professional biography is longer than what is mentioned here, the aforementioned provides enough information to substantiate what he adds to ‘the record’ for this investigation.
In knowing that Manny DeGrandis’ professional record spans decades, and continues to be active, there’s merit in learning what he thinks are some of the main ingredients to having longevity in the music business as a professional musician. DeGrandis offers:
“I wear a lot of hats (laughs)! Seriously speaking though, depending on what hat you’re wearing, the answers are different. As a work-for-hire or substitute musician, lots has to do with how fast you can answer the call, being on time, or coming with the right attitude. As a regular band member, maintaining relationships, knowing you’re working toward, or building, something that’s more substantial than your name on a paycheque is important. I believe that anyone can play the notes; being someone who can contribute to making the experience better is, perhaps, the common thread. Another thing that’s true, regardless of the circumstances, is to do the hard work, and finish what you’ve started; that’s a determining characteristic of being able to have some longevity as a professional musician too, in my experience.”
While having the discussion about the components of a longevous career in music, DeGrandis was also asked to describe in more detail the unique aspects of being a substitute player, drawing from his own years of experience:
“Being a substitute player is a different experience in the sense that you’re managing things that are unique to the role. The first time you show up, you’re judged based on how fast you can correct your playing in real time, how well you gel with the other players, how well you play THAT band’s material, how you manage direction, and so many other things.
When asked what advice he would give to musicians aspiring to follow a path similar to his as a professional musician, DeGrandis’ answer provides readers with deeper insight. In discussing what worked for him, DeGrandis focuses some attention on the music scene as a whole, which objectively offers strong evidence of a philosophy that he’s carried throughout his own career, and found success with:
“What worked for me is doing hard work, staying on top of things, doing my homework, and being part of the scene. Going out to enjoy and experience the scene you want to be a part of - and being part of it – is important. You can’t just sit at home and expect that opportunities will come your way.”
In searching for more insight, beyond the regular press release and professional bio, Manny DeGrandis was asked what many consider to be a ‘loaded’ question: Why do you do what you do, with respect to music? DeGrandis puts his thoughts on record, exclusively for The Sound Café Journal:
“Music saved my life. It’s the reason why I’m happy - at least three days a week (laughs) -, the reason I have a house, the reason why I work, and so many other positive aspects of my life. It’s something I’m driven to do, and live music is what drives me the most. I’ve realized – especially during covid – that music is something I need to do. There’s a symbiosis between what it gives me, and what I try to give back.”
In learning more from Manny DeGrandis, it’s a fair assumption that the common thread woven through the fabric of his career is: a personal mandate to provide a great experience, for everyone sharing in his contributions.
As this edition of “Behind the Curtain” draws to a close, I trust that readers of all varieties have gained something more about the artist of mention, and it inspires further investigation. Every artist featured in this column has a biographical foundation that cannot be covered here, so it is always encouraged to find out more about the music and career that substantiates these conversations. In Manny DeGrandis’ case, readers have gained insight into the role as a substitute bassist, being a player in a long-term project, and contributions off stage, while also learning something exclusive about his specific approach. This article is a regular contribution, published exclusively in the Sound Café Journal with the intention of providing a deeper, exclusive insight into the Canadian artists who are at the core of the Blues music Collective.
Touring blues musician Erin McCallum brings both lived experience and journalistic rigour to her work as Sub Editor of The Sound Cafe Journal.
A graduate of Humber College’s media studies program, with a focus on news and radio, Erin went on to be mentored by Canadian News Hall of Fame inductee Robert Holiday, an influence that helped shape her investigative voice and editorial discipline.
A regularly published writer in both music and investigative journalism, Erin has spent the past six years honing her focus on the music world, with a particular passion for the Blues & Roots community. Her work is grounded in authenticity, access, and a deep respect for the artists and industry professionals she profiles.
She pens an exclusive monthly column for The Sound Cafe Journal, spotlighting musicians and industry figures from across Canada who are shaping and sustaining the Blues & Roots landscape.
Erin McCallum. Big Voice. Big Sound.
Check out the Erin McCallum Blues Legend & Legacy Distinction
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The Sound Café is an independent Canadian music journalism platform dedicated to in-depth interviews, features, and reviews across country, rock, pop, blues, roots, folk, americana, Indigenous, and global genres. Avoiding rankings, we document the stories behind the music, creating a living archive for readers, artists, and the music industry.
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