Step into the world of John Mars, and you'll quickly realize his musical journey isn't a solo expedition but a vibrant, ever-evolving network of collaborations. Far from a solitary artist, Mars acts as a dynamic hub, drawing in an astonishing array of talent across genres and generations. His discography isn't just a collection of songs; it's a testament to the power of shared artistry, showcasing a career deeply intertwined with legendary figures and rising stars alike. Exploring John Mars’ collaborations and band members means uncovering a rich tapestry of musicianship, production genius, and creative partnerships that span decades and genres, from avant-garde jazz to gritty blues-rock and pop.
At a Glance: John Mars' Collaborative Universe
- A Nexus of Talent: Mars consistently works with top-tier musicians, engineers, and producers, many of whom are legends in their own right.
- Genre-Spanning Reach: His projects encompass blues, rock, jazz, experimental, and folk, reflecting diverse influences.
- Long-Standing Partnerships: Recurring collaborators like Jack deKeyzer, Lucas Stagg, and Michael Fonfara underscore deep creative bonds.
- Beyond the Stage: Mars extends his collaborative spirit to songwriting, production, and even album artwork, engaging illustrators and designers.
- Mentorship and Mutual Respect: His network includes mentors like Michael Snow and peers who have gone on to celebrated solo careers.
The Latest Sound: John Mars' New CD & Its Stellar Ensemble
John Mars' most recent recording project serves as a perfect entry point into his collaborative spirit, showcasing a truly exceptional lineup. Co-produced by Mars himself alongside Lucas Stagg, this new CD is a masterclass in weaving together diverse talents. Stagg, known for leading Room 101 and for his own two latest solo CDs (also co-produced with Mars), brings a seasoned ear and musical rapport to the project, contributing acoustic guitar and harmony vocals.
The personnel list reads like a who's who of accomplished musicians:
- John Mars: Lead Vocals
- Lucas Stagg: Acoustic Guitar, Harmony Vocals
- Craig McNair: Harmony Vocals
- Danny Weis: Electric Guitar, Nylon String Classical Guitar
- Michael Fonfara: Grand Piano, Hammond Organ
- Ray Harrison: Grand Piano, Hammond Organ
- Mary 5e: Additional Harmony Vocals
- Suzie Sweetman: Additional Harmony Vocals
Danny Weis stands out with a career that speaks volumes. A founding member of legendary groups like Iron Butterfly and Rhinoceros, his guitar work has graced recordings by artists as diverse as Lou Reed and Alice Cooper. He even served as band leader for Bette Midler, appearing in the iconic film "The Rose." His contributions of electric and nylon string classical guitar undoubtedly lend a nuanced depth to Mars' sound.
The keyboard duties are split between two formidable talents. The late, great Michael Fonfara (1946-2021), a co-founder of Rhinoceros with Danny Weis, also became a band leader for Lou Reed, and played with The Electric Flag, Solomon Burke, The Downchild Blues Band, and Foreigner. His grand piano and Hammond organ provide a rich, soulful foundation. Sharing keyboard responsibilities is Ray Harrison, leader of The Cameo Blues Band, whose past includes stints with Shooter, Crowbar, and The Greaseball Boogie Band.
Harmony vocals are further enriched by Craig McNair, an artist Mars is also producing for his first solo acoustic album, along with the distinct voices of Mary 5e and Suzie Sweetman, both leaders of their own groups.
Beyond the performers, the production team itself is a testament to Mars' commitment to quality. J.P. Riemens engineered the CD at Grant Avenue Studio in Hamilton, Canada, bringing an impressive resume that includes recordings for Canadian folk legend Gordon Lightfoot and Chris Houston. Mastering duties were handled by the acclaimed Nick Blagona at Psychotropic Studios. Blagona's legendary touch has enhanced recordings for an astounding list of global icons, including Keith Richards, The Dave Clark Five, Kate and Anna McGarrigle, Deep Purple, Rush, The Police, The Bee Gees, Tom Jones, Chicago, Cat Stevens, The Goo Goo Dolls, and Alexis On Fire.
The artistic vision extends to the album's aesthetics, with striking illustrations by Dominic Bugatto, whose work has appeared in prestigious publications like The New York Times and The Wall Street Journal and is collected by the Smithsonian Institute. Package design was a collaborative effort between John Mars and Lucas Stagg.
Forging the Blues-Rock Path: The "WHASUP?" Era and Jack deKeyzer
Venturing back in Mars' discography, the "WHASUP?" CD showcases another pivotal partnership: his deep collaboration with acclaimed blues guitarist Jack deKeyzer. DeKeyzer not only produced "WHASUP?" but also co-wrote many songs with Mars and contributed electric guitar and harmony vocals, defining much of the album's fiery blues-rock sound.
The "WHASUP?" lineup was equally impressive:
- John Mars: Lead Vocals
- Jack deKeyzer: Electric Guitar, Harmony Vocals
- Michael Fonfara: Grand Piano, Organ
- Chris Robinson: Tenor and Alto Saxophone
- Brigham Phillips: Trumpet
- Shane Scott: Bass, Harmony Vocals
- Mark French: Drums
- Alec Fraser: Harmony Vocals, Hand Percussion
- Gayle Ackroyd: Harmony Vocals on 'Wild At Heart'
Jack deKeyzer's influence runs deep. A Juno Award winner for his album "Six String Lover" (which features a co-write with Mars), he's a celebrated bandleader and a veteran of groups like the Robert Gordon Band and Ronnie Hawkins and The Hawks. His playing has supported blues legends like Bo Diddley and Etta James.
The horn section on "WHASUP?" was a powerhouse. Chris Robinson, John Mars' cousin, leads his own Jazz group and was previously a member of John Mars And The Martians. He brings a soulful sax presence. Juno Award-winning Jazz trumpet/trombone player Brigham Phillips, known for leading his own big band, adds a vibrant brass layer.
The rhythm section was equally robust. Shane Scott, who also mixed the album with deKeyzer, played bass and harmony vocals; he's a regular in The Jack deKeyzer Band. Drummer Mark French brings a significant pedigree, having played on Juno Award-winning recordings for the iconic Canadian band Blue Rodeo. Alec Fraser, another Jack deKeyzer Band veteran, engineered the album and contributed harmony vocals and hand percussion, and is now in the Jimmy Boskill band.
Critics widely praised "WHASUP?", with Mohair Sweets declaring it "100% pure unadulterated rock'n'roll!" The Nail appreciated its "reminiscent of many 60's pop records, pretty smooth... songwriting is first-rate." Blitz Magazine noted its diverse inspirations, from "Sticky Fingers"-era Rolling Stones to Stax/Volt and rockabilly. Even Jimi Hendrix Experience bassist Noel Redding lauded Mars' rendition of "Nervous Breakdown." The album's packaging was a joint design effort by John Mars and Jack deKeyzer, featuring photography from Huggy Bundle, Scott Harvery, Marilyn Guest, and John Mars himself.
Songwriting Synergy: Collaborations Beyond His Own Albums
John Mars’ collaborative spirit isn’t confined to his own releases. He’s also a significant co-writer, contributing his lyrical and melodic talents to other artists' projects.
One notable example is "Jump Right To It," co-written by John Mars and Jack deKeyzer. This track gained significant recognition when it was featured on Jack deKeyzer's Juno Award-winning album, "Six String Lover." Mars originally conceived the lyrics and melody in 2006 as an inspiration for his father, Jack Mars, demonstrating the personal roots of his creative output. The song featured Jack deKeyzer on electric guitar and lead vocals, Michael Fonfara on Hammond B3 organ, David Rotundo on harmonica, Shane Scott on upright bass, Tony Ajo on drums, and The Liquid Lounge Singers on background vocals. A video for "Jump Right To It" by Mako Funasaka was broadcast on television and included in deKeyzer’s documentary "Silver Blues," which aired on BRAVO TV.
Another powerful co-write with Jack deKeyzer is "Big Wig Woman," which found its home on Willie "Big Eyes" Smith's "Blues From The Heart" album. Willie Smith, a true legend, was Muddy Waters’ drummer for many years, famously playing harmonica on Bo Diddley’s "Diddy Wah Diddy" and drums on a 1964 Otis Spann album featuring Eric Clapton and Jimmy Page. He contributed to six Grammy Award-winning albums by Muddy Waters and earned a Grammy for "Joined At The Hip" with Pinetop Perkins. Fans might also recognize him drumming with John Lee Hooker in the 1980 "Blues Brothers" movie. For "Big Wig Woman," Smith handled vocals and drums, with Jack deKeyzer on electric guitar, Al Lerman on harmonica, Michael Fonfara on piano, and Alec Fraser on bass.
Mars' rehearsal recordings also hint at further collaborative potential. His rendition of Donovan Leitch's "Sadness" with Lucas Stagg on guitar was intended for Mars’ "Detroit Or Buffalo" album, with Michael Fonfara planning to contribute piano and organ – a poignant reminder of creative plans cut short by Fonfara's passing. Similarly, "The Skye," co-written by John Mars and Paul Chapman, and Gretchen Peters' "When You Are Old" are rehearsal recordings featuring Mars' singing alongside Chapman's guitar, showcasing a more intimate, acoustic side of his work. For those curious to Learn more about John Mars and his musical journey, these behind-the-scenes moments offer valuable insight into his creative process.
Early Ventures: From Brian's Children to The Children's "Electric Playground"
John Mars' history of collaboration stretches far back into his career, tracing its roots through dynamic band formations that laid the groundwork for his later work. One of his early significant projects was Brian’s Children, a band that released a 45rpm record featuring "Cut Her Hair" and "Oh Yeah." Both tracks were co-written by John Mars and the late D.M. Templeton (Temp’s, 1954-2022).
The core personnel for Brian’s Children included:
- John Mars: Lead Vocals
- Temp’s (David Templeton): Electric Guitar, Electric Bass, Backing Vocals
- Todd Fury: Drums
This seminal record was produced by Brian’s Children themselves and engineered by none other than Daniel Lanois at Grant Avenue Studio in Hamilton, Canada – a name that would go on to become synonymous with iconic albums for U2, Bob Dylan, and Emmylou Harris, among many others. "Cut Her Hair" was a heartfelt tribute to Brian Jones of The Rolling Stones, resonating widely enough to gain FM radio airplay in both Canada and the USA, even garnering a Japanese fan club and fan mail from Sweden.
Following the dissolution of Brian’s Children, the band evolved into The Children, with John Mars as the sole remaining original member. This new incarnation continued Mars' collaborative spirit, bringing in fresh talent for their "Electric Playground" five-song E.P. circa 1988. The tracks included original co-writes by John Mars with Aurelio Lanzalone, Mark Sinkowski, and Richard Tremblay, alongside a cover of "I’m On Fire."
The E.P.'s personnel featured: - John Mars: Lead Vocals
- Aurelio Lanzalone: Guitar, Backing Vocals
- Mark Sinkowski: Electric Bass, Backing Vocals
- Al Burnham: Drums
This project was produced by John Mars, Aurelio Lanzalone, and Mark Sinkowski, with engineering handled by Bob Doidge at Grant Avenue Studios, maintaining a connection to a familiar recording space. The band saw several lineup changes, including Richard Tremblay (formerly of John Mars And The Martians) replacing Todd Fury on drums circa 1986, and Aurelio Lanzalone and Mark Sinkowski joining from The Cleaners. Later, Al Burnham (a mere 17 years old at the time) stepped in for Richard Tremblay for the E.P. recordings, with Dan Araquel and Mike Hepburns eventually replacing Aurelio Lanzalone on guitar. These shifts highlight Mars' adaptability and his continuous quest for the right musical chemistry.
Venturing into the Avant-Garde: The Stuart Broomer & John Mars Duo
For a significant period, John Mars explored the outer reaches of musical expression through a groundbreaking duo with pianist Stuart Broomer. Their partnership began in 1973 within various Toronto Jazz/New Music groups, solidifying into a piano/drums duo in 1979. Broomer, a pioneer in "prepared piano" technique, alongside Mars on a custom double drum set, carved out a unique space in the improvised music scene.
Their seminal work, the vinyl LP "Annihilated Surprise," was a direct-to-master recording, capturing the raw energy of their live performances.
- Personnel: Stuart Broomer (piano), John Mars (double drum set)
- Tracks: WIND (John Mars), DISCREET (Stuart Broomer), DEDICATION (John Mars), CHINA (Stuart Broomer)
This album, and their subsequent performances, demonstrated a fearless approach to improvisation. Their live concert at the Katharine Cornell Theatre, State University Of New York At Buffalo, in November 1984, further exemplified their innovative spirit. Beyond their original compositions like "WIND" and "CHINA," they also performed "EXPRESSIONISM, Part One and Part Two," an original soundtrack they created for the 1919 silent film "The Cabinet Of Dr. Caligari." For these performances, Mars expanded his sonic palette to include percussion and digital synthesizer.
The duo toured extensively across Ontario, Quebec, New York, and Michigan, with "Annihilated Surprise" receiving airplay throughout North America, Europe, and Africa. Their music defied easy categorization, earning high praise from critics: - Peter Goddard (The Toronto Star): "A complex of many styles so altered and personalized that their origins have all but vanished."
- Mark Miller (The Globe and Mail): Their music existed "between definitions that define one style from another."
- DownBeat Magazine: Described their work as a "rational extension of everything from New Orleans funeral music, Albert Ayler, Sun Ra, "Jellyroll" Morton - the whole spectrum of jazz and, the whole spectrum of art in the 20th Century."
- The Buffalo Evening News: Recognized them as "first rate new jazz players."
- CODA: Praised Mars as a "propulsive drummer... who produces a wide variety of textures from an only slightly augmented double drum kit."
Mars' earlier group, John Mars And The Martians, also showed influences from Albert Ayler and "New Wave" Jazz, providing a fertile ground for his later explorations with Broomer. Although the duo disbanded in 1986, their legacy endures, with the possibility of a CD re-issue of "Annihilated Surprise" on the horizon. Stuart Broomer continues to be a prominent voice in jazz as editor of Coda - Canada's Jazz magazine, a writer for The Toronto Star, Jazz editor for Toronto Life Magazine, and a jazz CD reviewer for amazon.com. Their acoustic performance of "WOUND" at the Hamilton Public Library in 1984, captured on cassette, offers another glimpse into their profound connection and innovative approach to music. Anyone interested in John Mars' diverse discography would find this period particularly fascinating.
Improvised Landscapes: Further Explorations with Michael Snow and "Extempore"
John Mars' journey into improvised and experimental music deepened through his connection with Michael Snow (1928-2023), the multidisciplinary Canadian artist who became a significant mentor to Mars. Their collaboration culminated in a powerful quartet concert titled "Extempore" in 1975 at A Space in Toronto.
This extraordinary performance featured:
- Stuart Broomer: Piano
- John Mars: Drums, Triangles, Wood Blocks and other Percussion
- Bill Smith: Sopranino Saxophone, Tin Bells
- Michael Snow: Trumpet, Tambourine
Recorded by Dan Allen, "Extempore" (running 33 minutes and 59 seconds) was characterized by its percussive and turbulent elements. The music drew influences from pioneering composers like Varèse and Harry Partch, with horn sections that evoked the free-jazz spirit of Albert Ayler. Michael Snow himself had a history of recording such avant-garde artists, having captured Albert Ayler and Don Cherry for the "New York Eye And Ear Control" LP. This period highlights Mars' openness to radical sonic exploration and his association with figures who pushed artistic boundaries. To delve further into the artistic journey of John Mars and his influences, these early experimental collaborations are essential.
Roots & Raw Energy: The Natural Born Lovers
Before the polished studio albums and the intricate avant-garde explorations, John Mars connected with raw, unadulterated rock 'n' roll and rhythm & blues through Natural Born Lovers. This short-lived but impactful project showcased Mars' versatile vocal talents and his deep appreciation for foundational American music. Their live concert at York University, Toronto, in 1995/1996, though captured on a dictation cassette machine, perfectly encapsulated their energetic spirit.
The Natural Born Lovers line-up consisted of:
- John Mars: Lead/Backing Vocals
- Mike Ardelli (1973-1997): Lead Guitar, Lead/Backing Vocals
- Glenn Kimberley (1964-2015): Drums, Lead/Backing Vocals
- Spike Katz: Upright Bass
- Dave: Yamaha Electric Piano (on some tracks)
The band specialized in covers that paid homage to their influences, which for Mike Ardelli included 1950s Rock 'n' Roll, Rhythm and Blues, Jazz, and Jack deKeyzer. The setlist was a blast from the past: - "Nervous Breakdown" (Mario Roccuzzo/Eddie Cochran)
- "Little Queenie" (Chuck Berry)
- "I Want You To Be My Baby" (Jon Hendricks)
- "No Money Down" (Chuck Berry)
- "Flyin’ Saucers Rock ’n’ Roll" (Ray Scott)
- "Sweet Lil’ Angel" (Trixie Smith / arr: B.B. King)
- "C’mon Everbody" (Eddie Cochran / Jerry Capehart)
Mars took the lead vocals on "Nervous Breakdown," "Sweet Lil’ Angel," and "C’mon Everybody," demonstrating his command of various vocal styles. Mike Ardelli fronted "Little Queenie," "I Want You To Be My Baby," and "Flying Saucers Rock ’n’ Roll," while Glenn Kimberley stepped up for "No Money Down." This project showcased Mars' ability to immerse himself in different musical identities and celebrate the roots of rock and blues with infectious enthusiasm. For a broader perspective on John Mars' career spanning diverse genres, the Natural Born Lovers illustrate his connection to foundational rock sounds.
Behind the Boards: The Unsung Maestros of Sound & Vision
While the spotlight often falls on the musicians, John Mars' collaborations extend significantly behind the scenes to a cadre of world-class engineers, mixers, masterers, and visual artists. These individuals are integral to the sound and presentation of his work, often bringing their own legendary resumes to the table.
- Engineers: From J.P. Riemens (Gordon Lightfoot, Chris Houston) on his new CD to Alec Fraser (The Jack deKeyzer Band) on "WHASUP?", and the iconic Daniel Lanois (U2, Bob Dylan) on the Brian’s Children 45rpm, Mars consistently seeks out top-tier talent for recording. Bob Doidge also engineered The Children's "Electric Playground," and Mark Wright recorded the Stuart Broomer & John Mars duo.
- Mixers & Masterers: The meticulous craft of mixing and mastering is evident with names like Nick Blagona (Keith Richards, Rush, The Police, Deep Purple) who mastered Mars' new CD, Shane Scott and Jack deKeyzer mixing "WHASUP?", and Andy Krehm mastering it. Their expertise ensures the final product is polished and impactful.
- Producers: Mars often co-produces his own work, highlighting his hands-on approach, but he also trusts experienced producers like Jack deKeyzer ("WHASUP?"), Lucas Stagg (new CD, his own solo work), and others for specific projects.
- Illustrators & Designers: The visual presentation of Mars' albums is another area of rich collaboration. Dominic Bugatto, whose art is collected by the Smithsonian Institute, provided illustrations for the new CD. John Mars frequently collaborates on package design himself, notably with Lucas Stagg for the new CD and Jack deKeyzer for "WHASUP?". Photographers like Huggy Bundle, Scott Harvery, and Marilyn Guest also contributed to the visual identity of his releases.
This deep engagement with professionals across the entire creative spectrum underscores Mars' commitment to producing art that is excellent in every dimension, from the first note recorded to the final packaged product. It's an affirmation of his belief that music is a collective endeavor, enriched by many skilled hands and minds.
A Legacy Forged in Collaboration: What John Mars' Network Tells Us
Examining John Mars’ collaborations and band members reveals not just a discography, but a rich cultural history. His career is a dynamic testament to the power of shared musical vision, adaptability, and an unyielding commitment to artistic quality. From the raw, improvisational energy of his early avant-garde jazz explorations with Stuart Broomer and Michael Snow, to the gritty blues-rock of "WHASUP?" forged with Jack deKeyzer, and the sophisticated arrangements of his latest CD featuring legends like Danny Weis and Michael Fonfara, Mars consistently places himself at the center of a vibrant musical ecosystem.
He is a catalyst, a connector, and a curator of talent, assembling ensembles that bring out the best in each musician while pushing his own creative boundaries. His willingness to explore diverse genres, to co-write with others, and to invest in top-tier production and design talent speaks to an artist driven by genuine passion and a deep respect for the craft.
Ultimately, John Mars' extensive network highlights a significant truth about his artistry: his music thrives in conversation, in the interplay of ideas and instruments, and in the collective pursuit of sonic excellence. Each collaboration adds another unique thread to his already rich tapestry, making his body of work not just a personal achievement, but a celebration of the interconnectedness of the musical world. For those eager to discover more about this remarkable artist's journey, we encourage you to Learn more about John Mars and explore the incredible breadth of his creative partnerships.