The Beet Organic Café & Market is housed in an old TD Bank building, its entrance behind a still-functional Green Machine ABM terminal. I’m not sure if this is an amazing coincidence or a subtle, “only in the Junction” political statement: on Queen West, the big brands are taking over the mom & pop restaurants and stores. In Toronto’s “up and coming” West End, it’s apparently the other way around.

The Beet is not vegetarian, but very vegetarian and vegan friendly. All of its food is organic and healthily prepared. The fact that it’s co-owned by a certified nutritionist and a homeopathic doctor is evident in everything we tried: the food is tasty, healthy and solid. Unlike the light-and-fluffy salads that pass for vegetarian fare elsewhere, things here are weighty and feel like they’re providing actual nutrition.

It’s all very earnest, but excellent and deserving of a vegan’s/vegetarian’s/locavore’s/eco-aware person’s patronage. The “market” is a thoughtful selection of healthy products, from organic toothpaste to healthy granola bars to tea (the selection could be a little better here, I think…) and coffee. The soundtrack was tasty and chilled roots reggae today, perhaps indicating the preferences of the fabulously friendly blonde dreadlocked server.

We ordered the soup of the day (cream of parsnip with apple), the frittata of the day (kale, broccoli, Emmenthal), a tofu and avocado wrap and a freshly juiced juice. Everything was delicious, the soup a particular standout for me. The sandwich/frittata plates are served with a substantial helping of well-dressed salad (a rare feat, finding a well-dressed salad in any restaurant) and solid multigrain bread with sundried tomato spread.

I ordered jasmine green tea which came in a Bodum coffee plunger - a good idea in principle, but the plunger was a little loose, so I had a few moments of, “Oh boy, I hope it holds up!” :) I did get a free top-up of hot water though (without asking!), which was great.

The bathroom is fabulous (I imagine it used to be the bank manager’s office - worth checking out for its sheer size alone, but also very clean and new, and furnished with non-scented hand soap, which is a rarity again).

Overall, highly recommended. You can tell that intelligent human beings are involved in planning and running this restaurant daily. It felt like a bit of an oasis, and I think I’ll return many times. And I sincerely hope it does well. Toronto needs more restaurants like this.

Closed Mondays, Open Tuesday through Sunday. Hours and location on the website.

The Idan Raichel Project

Idan Raichel. Cumbancha 2006, Audio CD, $10.17

Am I dating myself (38) by talking about world music? Does anyone other than 35 plus year olds with a liberal bent still listen to world music? These days, I mostly encounter it in my artsier friends, or in people who aren’t really music listeners or buyers and for whom it validates a certain set of lifestyle choices, such as vegetarianism or organic food. Such pursuits, it seems, makes them more open to world music, which comes as part of a package deal: be vegan, use locally grown organic products, wear clothes made from hemp and shoes made from recycled car tires - and listen to music from South Africa or Bangladesh. (It’s always interesting to me to observe how people who don’t habitually listen to or buy music, listen to music. Hootie & the Blowfish sold most of their records to people like that.)

But world music, if you know where to look, is a vital, important ‘genre’ - it’s tricky to call it a genre because it’s only a genre in the context of the music industry and the perplexities of CD distribution in the developed world. Here, it’s a genre. In its place of origin, it’s just music.

Idan Raichel is an Israeli singer, songwriter and multi-instrumentalist. He’s produced two very successful ‘fusion’ style world music albums and has just released a third (2008) which I have on order and I’m hoping will arrive soon. I first encountered him through the above-referenced compilation (a concatenation of his first two albums for the international market, released in 2006).

This is interesting and lovely music that’s both entirely foreign and completely familiar at the same time. Raichel presents a smorgasbord of musics from the Jewish diaspora that’s returned ‘home’ to Israel: music from Ethiopia, music from various Arabic countries, music from Eastern Europe. It’s a linguistic hodgepodge, just as one imagines Israel to be: many songs are sung in Hewbrew, many in Amharic, some in Arabic, some in Hindi, some in yemenite Hebrew, and there are a few English passages as well.

The music itself has a strong folk song bent, underscored by solid electronics, a reggae/dancehall backbeat, and some lovely Israeli ‘europop’ sheen (but not too much, which is a good thing). You can tell that Raichel is both a consummate musician who loves to collaborate and explore what happens when you work directly with other musicians, and a dedicated studio tinkerer who can spend all day bending a sample into the right shape - so that it sounds just so.

Above all, this music is cool in the way that most Putumayo compilations sold at Whole Foods Market are not. It’s a complete artist statement, a tricky thing coming from a country where every artist statement is meaningful in ways quite outside its artistic merit. Israeli music that attempts a bridging of cultures, an integration of the differences between people, could be explosive or just plain bad, saccharine or preachy.

It’s testament to Raichel’s skill that this isn’t that. This is powerful, danceable, joyful, sad, touching and, above all, fulfilling in the same way that, say Linton Kwesi Johnson’s music was at his peak: you didn’t know where to look and listen first - great words, deep, rumbling, funky, jazzy reggae, great live show. Idan Raichel’s Project knows that music needs to work as music first and foremost, and that - if it does - integration and transcendence will be achieved as a matter of course.

If you, like me, would prefer to get the original Israeli albums rather than the ‘westernized’ compilation, you can order them from Israel Music, an online store. Mine came quickly and without fuss. Deciphering the Hebrew letters on the covers and translating them into English for ripping purposes can be done - painstakingly and using a multitude of equally hard-to-read websites. But that’s all part of the fun of discovering something truly unique.

One Night Stand! Sam Cooke Live at the Harlem Square Club, 1963

Sam Cooke. RCA 2005, Audio CD, $8.50

Sam Cooke is commonly thought of as one of the originators of soul music and also gets frequent mention as a role model for black entrepreneurs in the entertainment industry. A very gifted singer, he ‘broke free’ from singing gospel with the Soul Stirrers and had a short but important secular solo career which ended abruptly when he was murdered in 1964 at age 33.

One Night Stand! is incredible in many ways: as a document of an actual live performance, it removes the manicured studio sheen and presents Cooke at the peak of his vocal power - raw, a little rough around the edges, but spot-on and beautifully contoured throughout. He sings perfectly pitched - and, as an early soul singer, has a knack for presenting the ‘true meaning’ of saccharine pop songs with his voice alone. Many of the tunes here were written with a (white) radio audience in mind, and Cooke did have some crossover success. This nascent musical style, finding its way at the edge of R&B and ‘white’ crooner pop, establishes one of the core tenets of rock ‘n roll and soul music: the song’s not really about what the song claims to be about. Where the lyrics can’t express ’sex’ and hard living, the tone of the voice can. And Sam Cooke is brilliant at this, preserving the song’s radio potential while everyone at the live show knows - wink wink - what we’re really talking about.

I think that everyone from Aretha Franklin to Marvin Gaye, Van Morrison to Rob Stewart has tried to channel Sam Cooke. His few available recordings belie his importance as inspiration for much of rock ‘n soul. Artful rough edges, vocalizations without lyrics, just the right amount of audience involvement… it’s all here for the first time. (Well, it’s also in James Brown live albums of roughly the same time, to be fair, and in Ray Charles.)

One Night Stand! is certainly not a perfect record. The band - though powerful and (in the remastered version here) great-sounding - feels a little lost at times. Cooke will start off a tune, and you can hear the rhythm guitarist trying to find his way for a bar or two. I’m not sure if this was the Harlem Square Club’s house band, but they sound a little ‘under-rehearsed’ here. It’s testament to Sam Cooke’s powerful singing that this doesn’t distract at all from the music.

Picture by Leo Reynolds

I’ve been listening to Van Morrison for days now. He’s someone I had somehow ignored so far in my 25 years of listening and collecting music. In the 80s, when my listening habits were formed, Van was on a path that wasn’t very likable musically - his voice losing its elasticity, his music harsher and more judgmental of an incomprehending audience than ever before.

Only I didn’t know the ‘before.’ Having no older siblings, Van Morrison wasn’t really someone I knew about or chose to discover for myself.

Now I’m 38 and a conversation related to Kevin Rowland & Dexys Midnight Runners (a band I like very much and who, I realize now, tried to channel Morrison’s 70s blue-eyed soul magic) led me to take another look.

And what a great discovery he is. I’m listening to the first 5 or 6 records, and they’re all great - revelatory, powerful, focused, subtle, elegant and, above all, deeply musical.

John Lennon

Philip Norman. Ecco 2008, Hardcover, 864 pages, $19.99

Violator (Deluxe Edition CD+DVD)

Depeche Mode. Rhino / Wea 2006, Audio CD, $18.05

It’s hard to remember, from today’s perspective, just how powerful Depeche Mode’s Violator was when it came out in 1990. It neatly, elegantly bridged the gap between punk and mainstream pop while at the same time articulating an aesthetic that somehow convincingly melded the blues to the band’s meticulously programmed synthpop. For the first time on a DM record, guitars occupy a somewhat equal space with sequencers and synthesizers. There isn’t a weak track here, and some are true masterpieces of the genre: “Personal Jesus,” “Sweetest Perfection,” “Waiting for the Night,” “Policy of Truth,” “World in my Eyes.” These are beacons of songcraft and electronic production: Alan Wilder’s production is tight, focused and imaginative - much of Depeche Mode’s ‘classic’ sound, from Some Great Reward to Songs of Faith and Devotion, is due to Wilder’s clever instrumentation and arrangements, and DM have never quite sounded the same since he left in 1995. Pet Shop Boys’ Neil Tennant has said that they were deeply envious of DM’s sound on Violator.

There’s still a freshness to this record’s sound, especially in the remastered CD/DVD version, that can make you want to dance. In big goth boots, maybe. Eyeliner and Martin Gore boa optional.

• My Close Encounter With Obama in Hawaii - TIME - Pico Iyer about the significance of Barack Obama.
• Subprime Primer - Fascinating Slideshare “primer” about subprime mortgages. Funny, poignant and a little sad.
• Letters to a Young Musician by Ottmar Liebert - Advice from the nouveau flamenco guitarist.

Heathen [Limited Edition w/Bonus Disc]

David Bowie. Sony 2002, Audio CD, $9.70

Released in 2002, this is - for me - Bowie’s most satisfying record of the 2000s so far. It demonstrates what rock can sound like today - well-produced, full, dense, interesting, full of aural appeal, mystery, layers, greys and autumn colours. Bowie’s legacy, of course, is an impossibility to comment on in its entirety; this CD shows Bowie taking a look at it and creating un-ironic new music that’s both modern and conscious of many aspects of classic Bowie. Still one of rock’s most evocative lyricists, Bowie’s art is often in the way he leaves things unsaid - “5:15 The Angels Have Gone” is an ode to public transit as much as a love song and metaphysical reflection:

5:15 | Train overdue. | Angels have gone. | No ticket. | I’m jumping tracks. | I’m changing towns. | We never talk anymore. | Forever I will adore you.

If you thought Bowie’s run ended with Scary Monsters, think again. There’s a slew of newer records that are very good. While I wouldn’t necessarily recommend Earthling and Outside as (much) more than uneven oddities with really great bits, Hours, Heathen and Reality are all great, satisfying, ‘mature’ (in the best way) Bowie records.

Pictures from a weekend outing. I had to shoot around all the Japanese tourists and their tripods. Clearly, it’s a hot tip for tourists.

French-trained master baker Marc Thobor of Celestin fame has recently taken over the restaurant’s bakery counter and renamed it Thobors Boulangerie. It offers mostly beautiful standard French breads - baguettes, boules, fancy savoury or sweet variations, some croissants and a small variety of danishes, pains au chocolat and the like.

As an immigrant, I’m constantly in search of great bread in Toronto. Being German, I feel drawn to solid, chewy, darker sourdough and/or rye breads. Which are hard to come by: the Russian/Polish rye loaves are too light and fluffy, the Jewish varieties often have caraway seeds. Nice, but not pleasing to the German palate.

Discovering Thobors comes hot on the heels of a recent trip to Germany where we ate great bread - all kinds: seed-covered buns that were light and substantial all at once, the densest, moistest, most smooth-crusted rye bread you can imagine, and lovely 3, 5 or 7 grain breads that easily blew anything Whole Foods Market has ever made out of the water. To date, Dimpflmeier’s packaged rye breads have been the most consistent option… but they pale a little when compared to Thobors’ crunchy, fresh goodness.

I’m particularly enjoying the seeded baguettes (sesame and poppy), which have a pully, chewy bite. I like my bread to put up a bit of a fight. Pair these with a nice and simple cheese - maybe something like a Morbier - and you’ve got a very European-style quick meal.

Highly recommended. It’s actually worth making a trip up Mount Pleasant for. You could easily combine it with a visit to Bayview Avenue and its little food boutiques. But while there are now at least four bakeries in a one-block radius near Bayview and Millwood, you won’t find break as good as Marc Thobors’. My recommendation on Bayview is tostick with Alex Farm Products for cheese and Passion Fruits for excellent produce.