GRID NEWS Sneezy e Waters

LOCAL 180 MUSICIANS’ ASSOCIATION Folk Runs Deep OF -GATINEAU INCLUDING SUDBURY AND HUNTSVILLE

LOCAL 180 General Meeting Monday June 3rd 7:30 pm

280 Metcalfe St 5th floor

musiciansassociation180.org

June 2013 Vol. 83 eNews Harp June 2013 page 1 of 25 JUNE 2013 eNEWS

This journal has been optimized for viewing on a ar computer or a tablet. If you received a black and white printout of this publication by the mail, you HLOCAL 180 can still view the colour edition on our website. p If you do not need a printed copy mailed to you MUSICIANS’ ASSOCIATION and would like to receive it by email in the future, 7 in please contact us at the office. It would save us OF OTTAWA-GATINEAU INCLUDING SUDBURY AND HUNTSVILLE time & money. Thank you!

Senior Editor: Robin Moir this Managing Editor: Glenn Robb eNews Harp is the Official Journal of

Editorial Coordinator: Francine Schutzman issue... Translation: Denise Carrière 3 President’s Message Art Director: Lucie Lavallée 22 4-5 Secretary-Treasurer’s Message Production Manager: Dave Poulin Feature Articles Design: studioNINE 7 Sneezy Waters The Musicians’ Association Cover Photo: T Bruce Wittet 12 The Orpheus Theatre of Ottawa-Gatineau 20 News Huntsville and Sudbury 24 Jazz News Local 180, A. F. of M.

OFFICERS 17 Local 180 News President: Francine Schutzman 20 22 darthurART Acting Vice President: Gary Morton Acting Board Member: Dave Arthur Secretary-Treasurer: Robin Moir

Executive Board: Dave Renaud, Gary Morton, Michael Mullin, Michael Sasso DELEGATES TO AFM CONVENTION LOCAL 180 Francine Schutzman General Meeting Robin Moir President Emeritus: Glenn Robb rd Monday , June 3 OFFICE STAFF 7:30 pm (Doors open at 7 pm) MPTF Coordinator: Glenn Robb

th Office Manager: Susan Avery-Sproule 280 Metcalfe St, 5 floor Office Assistant: Dan Blackwell

Next Meeting: September 16th Webmaster: Dave Poulin eNews Harp June 2013 page 2 of 25 LOCALGRID 180 La version française se trouve à la page suivante. The President’s Report ON THE ROAD YET AGAIN (or, TIRED AND HUNGRY IN MONTREAL)

s I write this, Robin Moir and I are sitting in a meet- your ideas and concerns to the Local board at our gener- ing room at the Radio Canada building in Montreal, al meeting on June 3rd. I will be writing a report on the Ahoping that we will somehow see an end to the Convention for the September issue of the News Harp. Federation’s negotiations with the CBC. It is past 10 PM, and The AFM Convention will be preceded by the Canadian we haven’t had dinner. This round of negotiations began in Conference, which is the annual meeting of officers from February, 2011. I’ve lost count of how many times we have all of the Canadian AFM Locals. That gathering takes place gotten together in either Montreal or Toronto. It has been in Las Vegas during AFM Convention years; otherwise it is a long, frustrating process, complicated by the fact that we in a Canadian city. Next year will be our Local’s turn to host

Photo: Dave Poulin have been rewriting and simplifying the entire agreement, the Conference in August, so any of you who are interest- Francine Schutzman which had become rather unwieldy and somewhat arcane ed will be welcome to see for yourself what goes on during over the years. these occasions. We agreed with the CBC at the very beginning of the pro- Have you bought your tickets yet to the Local Awards cess that the fees would be simplified as well. The idea is Banquet on May 27th? This is a great opportunity to see that, when a musician plays a CBC gig, he or she will be old friends, meet new ones, and honour our longtime and paid one fee that is good for many situations. In many special members. cases, this will wind up being more or less the same as the fee that one would have received under the terms of the Drop in to the Local office to see how neat it looks! We old (now expired) agreement. Sometimes it will be less, celebrated spring by having a massive cleanup on May 3rd. and sometimes more. There is more breathing room, and it’s easier to keep things This single, simpler fee is in exchange for more use by the organized. CBC — over TV, radio, the Internet, etc. The same fee will cover both audio and video; in other words, there are no more barriers between various types of media. Those on both sides agreed that this was a sensible way to deal with Francine Schutzman the ever-changing face of entertainment media. However, the devil is in the details. I had hoped to announce in this article that there would be a deal to ratify in the near fu- ture, but that may have to wait a while longer. We have other travels coming up. Robin and I will be repre- senting Local 180 at the AFM Convention in Las Vegas in July. This is a four-day meeting that is our only chance to change the AFM bylaws until the next convention, which is at least three years away (there is a recommendation to have a convention every four years). Our Local didn’t submit any proposed changes this year, but we urge all of you to read the recommendations and resolutions printed in the May issue of the International Musician and to bring eNews Harp June 2013 page 3 of 25 LOCAL 180 The english version is located on the previous page. Rapport de la présidente ENCORE UNE FOIS SUR LA ROUTE (ou, FATIGUÉES ET AFFAMÉES À MONTRÉAL)

lors que je rédige le présent article, Robin Moir et tenir une convention à tous les quatre ans). Notre Section moi sommes assises dans une salle de réunion dans locale n’a présenté aucune proposition de changement Al’édifice de Radio-Canada à Montréal, espérant bien cette année, mais nous vous invitons à lire les recomman- voir la fin des négociations entre la Fédération et la société dations et les résolutions présentées dans le International Radio-Canada (SRC). Il passe 21 h et nous n’avons pas Musician de mai dernier, et de transmettre vos idées et encore soupé. Cette ronde de négociations a débuté en vos préoccupations au Conseil d’administration de la février 2011. J’ai perdu le compte du nombre de réunions Section locale à l’assemblée générale du 3 juin. Je ré- tenues soit à Montréal ou à Toronto. C’est un processus digerai un rapport sur la Convention dans le News Harp

Photo: Dave Poulin laborieux et décourageant, compliqué par le fait que nous de septembre. Francine Schutzman avons réécrit et simplifié l’entente entière, laquelle était La Convention de l’AFM sera précédée par la Conférence devenue quelque peu trop complexe et équivoque au fil canadienne, une réunion annuelle des dirigeants de tout- des années. es les Sections locales de la FCM. Cette rencontre a lieu à Dès le début du processus, nous avons aussi convenu Las Vegas l’année de la Convention de l’AFM; autrement, avec la SRC de simplifier la rémunération. En effet, elle a lieu dans une ville canadienne. L’an prochain, notre lorsqu’un musicien fait partie d’une représentation de la Section locale sera l’hôte de la Conférence en août, et SRC, sa rémunération sera la même dans plusieurs situ- toutes les personnes intéressées sont invitées à venir voir ations. Souvent, elle sera plus ou moins la même que de leurs propres yeux ce qui se passe à ces rencontres. la rémunération prévue en vertu de l’ancienne entente Avez-vous acheté vos billets pour le banquet-palmarès de (maintenant périmée); elle sera parfois moindre et parfois la Section locale du 27 mai? C’est une belle occasion de plus élevée. Cette rémunération unique et simplifiée est revoir des anciens amis, d’en rencontrer des nouveaux et en échange d’une utilisation accrue de la part de la SRC d’honorer des membres spéciaux de longue date. – à la télévision, à la radio, sur Internet, etc. La même rémunération couvrira tant l’aspect audio que vidéo; en Visitez le bureau de la Section locale afin de voir combien d’autres mots, il n’existe plus de barrières entre les divers il est propre! Nous avons célébré le printemps en tenant types de médias. Les deux parties ont conclu que c’était un nettoyage de masse le 3 mai dernier. Le bureau est la meilleure façon de traiter avec l’évolution constante des plus aéré et c’est plus facile de maintenir de l’ordre. médias de divertissement. Cependant, c’est toute une af- faire que de régler les détails. J’espérais annoncer dans le présent article qu’il y aurait bientôt une entente à ratifier, mais on devra attendre encore un peu. Francine Schutzman D’autres voyages sont aussi prévus. Robin et moi repré- senterons la Section locale 180 à la Convention de l’AFM à Las Vegas en juillet. Cette réunion de quatre jours s’avère notre seule occasion de changer les règlements de l’AFM jusqu’à la prochaine convention, laquelle n’aura pas lieu avant au moins trois ans (il existe une recommandation de

eNews Harp June 2013 page 4 of 25 GRIDLOCAL 180 La version française se trouve à la page suivante. The Secretary-Treasurer’s Message

Rise Up Robin Moir ast month we were all horrified by the tragic events It is interesting to see that some of those urging And so in the end we have a vocal segment of the popu- that took place at an eight-story garment factory in passionately for the garment factory workers to lation in Canada who will do whatever they can to weaken LDhaka, Bangladesh. The death toll from the collapse unite are the same individuals who are anti-labour labour here while they advocate for labour to unite in of the building that housed five garment factories now tops in this country. Somehow they understand that Bangladesh. The labour movement there will do all of the 1100 people, 1100 workers. only when the workers galvanize and organize will work, suffer the fallout, walk the walk and talk the talk, Canadian business kingpins, politicians, activists, labour they spearhead the changes needed in Bangladesh and in the end everyone will benefit from a stronger, more leaders and citizens alike have spoken out to deplore what because no one else in the country has the will vibrant and healthy workforce. is being called the one of the worst industrial accidents in or has suffered the hardship required to make the Companies and industry do have the right and obligation the world. change happen. on behalf of shareholders to pursue profits relentlessly but The European Union’s delegation to Bangladesh urged Martin Luther King Jr. said, “History is a great tea- not at the expense of those they employ. the government to “act immediately” to improve working cher. Now everyone knows that the labor move- In Bangladesh there will be growing pains. There will be conditions in all of the remaining garment factories in the ment did not diminish the strength of the nation, it acrimony. Western companies have pledged to help. It country, most of which have failed to meet work and safety enlarged it. By raising the living standards of mil- may take ten to twenty years to accomplish the goals they standards. In a country where corruption, exploitation and lions, labor miraculously created a market for in- set, but when the workers rise up for themselves – they greed are rampant and systemic it is difficult for anyone dustry and lifted the whole nation to undreamed of rise up for everyone in the country. here to believe that the unacceptable conditions in gar- levels of production. Those who attack labor forget ment factories will ever change. these simple truths, but history remembers them.” The workers who emerged safely from the rubble, many We are witnessing history unfold now, and our lea- Robin Moir of whom make about $38.00 per month, are demanding ders are inviting an unschooled, inexperienced and at least four months’ salary, or a whopping $152.00. The dominated work force to rise up and ensure safe West is demanding that Bangladesh, which earns nearly working conditions and adequate pay for the work $20 billion a year from garment exports, reform now. The that they do. Many have offered to travel there to disparity between their earnings and those of the garment help make the change happen. Be sure that the workers is staggering. West will be on the lookout for factory owners in Bangladesh who seek to outmaneuver overtures to But what else are we hearing that is fundamentally the most reform their factories by setting up transient sweat- important and vital factor to emerge from this disaster? shops to continue their manufacturing output. We hear Western business leaders, politicians, reformers, It wasn’t very long ago that in this country women activists, labour unions and citizens all urge Bangladeshian did not have the right to vote, that child labour workers to UNITE, to ORGANIZE! existed, that we did not have Medicare, that we did Only then will they have a voice to be heard. Only when not have public pensions, that we did not have po- they rise up together will they gain enough power to advo- verty relief programs, that we did not have income cate for themselves and be heard by the Western compa- support for persons with disabilities, and that we nies who benefit from their labour, and who were embar- did not have health and safety legislation. rassed and humiliated to see their companies’ logos in the rubble of the factory debris.

eNews Harp June 2013 page 5 of 25 GRIDLOCAL 180 The english version is located on the previous page. Message de la secrétaire trésorière Faire front commun Robin Moir e mois dernier, nous étions tous horrifiés des événe- défendre leurs droits et être entendus des entreprises oc- d’assurance-maladie, aucun régime de pension gou- ments tragiques survenus dans une fabrique de cidentales, lesquelles profitent de leur travail et ont été vernemental, aucun programme d’allègement de la Lvêtements de huit étages à Dhaka, au Bangladesh. gênées et humiliées de voir les logos de leurs entreprises pauvreté, aucun soutien du revenu pour les personnes Le bilan des décès entraîné par l’affaissement de l’édifice dans les débris de la fabrique. ayant un handicap, ni aucune loi sur la santé et la sécuri abritant cinq fabriques de vêtements dépasse maintenant té. Fait digne de remarque, certaines personnes poussant les 1 100 personnes, 1 100 travailleurs. travailleurs dans les fabriques de vêtements à s’unir sont Enfin, un groupe vocal de la population canadienne fera Au Canada, les personnes de marque, les politiciens, les aussi des personnes antisyndicales dans notre pays. Elles tout son possible pour affaiblir la main-d’œuvre ici alors activistes et les citoyens ont tous exprimé leur aberration semblent reconnaître que la seule façon pour les travail- qu’il favorise l’union des travailleurs au Bangladesh. Le pour ce qui est qualifié du pire accident industriel au mon leurs d’animer les changements nécessaires au Bangladesh mouvement ouvrier dans ce pays fera tout le travail, en de. consiste à s’unir et à s’organiser, car personne d’autre au subira les retombées, tiendra la route, sera le porte-parole, pays n’a la volonté ou n’a connu les épreuves nécessaires et à la fin, tous et chacun profiteront d’une main-d’œuvre La délégation de l’Union européenne au Bangladesh a pour entraîner le changement. plus forte, vibrante et en santé. imploré le gouvernement d’« agir immédiatement » afin d’améliorer les conditions de travail des fabriques de vête- Martin Luther King Junior a dit « L’histoire est un mer- Les entreprises et les industries ont certainement le droit ments restantes au pays, dont la plupart ne respectent veilleux professeur. Maintenant nous savons tous que le et l’obligation de constamment viser à récolter des profits pas les normes de sécurité au travail. Dans un pays où la mouvement ouvrier n’a pas diminué la force de la nation, au nom de leurs actionnaires, mais pas au détriment de corruption, l’exploitation et la cupidité sont déchaînés et il l’a élargie. En augmentant le niveau de vie de milliers de leurs employés. systémiques, il est difficile pour nous de croire au change- personnes, la main-d’œuvre a miraculeusement créé un Le Bangladesh connaîtra une crise de croissance. Il y aura ment des conditions inacceptables dans les fabriques de marché pour l’industrie et a élevé la nation entière à des de l’amertume. Les entreprises occidentales ont promis vêtements. niveaux de production inespérés. Les personnes qui atta- d’aider. On mettra peut-être 10 à 20 ans pour réaliser les quent la main-d’œuvre oublient ces simples vérités, mais Les travailleurs ayant survécus, dont la plupart gagnent objectifs visés, mais lorsque les travailleurs se défendent l’histoire s’en rappelle. » [Traduction] environ 38 $ par mois, demandent au moins quatre mois eux-mêmes – ils défendent l’ensemble du pays. de salaire, un montant exorbitant de 152 $. L’Ouest de- L’histoire se déroule sous nos yeux, alors que nos diri- mande au Bangladesh, lequel encaisse 20 milliards de dol- geants invitent des travailleurs non scolarisés, inexpéri- lars par année en raison de l’exportation de vêtements, de mentés et dominés à se révolter pour assurer des con- se réformer maintenant. L’écart entre les revenus du pays ditions de travail sans danger et une rémunération Robin Moir et ceux des travailleurs dans les fabriques est stupéfiant. appropriée à leur travail. Plusieurs ont offert de s’y rendre afin de réaliser le changement. Soyez sans in- Mais que dit on aussi sur le facteur le plus important et le quiétudes, l’Ouest surveillera les propriétaires de fab- plus essentiel à découler de ce désastre? riques au Bangladesh qui essaient de déjouer les ten- Les dirigeants d’entreprises, les politiciens, les artisans de tatives de réforme dans leurs fabriques en établissant la réforme, les activistes, les syndicats et les citoyens en des ateliers clandestins transitoires afin de poursuivre la Occident recommandent fortement aux travailleurs ban- fabrication. gladais de S’UNIR, de S’ORGANISER! Il n’y a pas si longtemps, dans notre propre pays, C’est la seule façon de faire entendre sa voix. C’est en les femmes n’avaient pas le droit de vote, la main- faisant front commun qu’ils auront assez de pouvoir pour d’œuvre enfantine existait, il n’existait aucun régime

eNews Harp June 2013 page 6 of 25 FEATURE

by T. Bruce Wittet

www.sneezywaters.com

Cited for Long Service by the Federation The man we know as Sneezy was born Peter Hodgson. To give you an idea of his age, consider that he joined the Musicians’ Association, Local 180 in September, 1963. “I guess I’ve always been a ‘fraternity guy’”, he admits. “And Sneezy Waters back then the union was something you did when you went professional...and I’d had good television work offered. It was natural to join the union.” In his other life, Sneezy is equally fraternal. He belongs Folk Runs Deep to local 471 of IATSCE, the union of stagehands, at the neezy Waters is as much a legend now as he was For anyone thinking Sneezy’s been idle, this album pro- National Arts Centre. Since he’s risen to fifth call on the thirty-some years ago when I subbed on drums for vides abundant evidence of his participation and conti- seniority list, he can pick and choose. Often, he admits, Sa couple of gigs. I remember being a little nervous, nuing education in music. Sneezy has sat quietly but tall in he’ll let good ones go if he’s got a musical idea or rehearsal not about covering the gig, but because his name loomed the saddle since his last record. scheduled. One thing’s certain: Sneezy Waters is never far from the music whether front of house or back. large on radio and TV. No question, the new album will kick up dust. The reason, Recently I came face-to-face with Sneezy under the aus- in part, is something that (the late legendary saxopho- All I got was a cheque and a red Sawdust T-shirt pices of AFM Local 180. We reminisced a bit, drank some nist, Local 180) Norm Clark typified as the “Easy Sneezy coffee, talked about water under the bridge (pun intended), Manner” in a published article, which we will examine later. I remember being flattered when asked to sub in Sneezy’s and owned up to what we’d been doing since those gigs. Excellent Band back in the early 1980s. I was also relie- The latest album, oddly entitled simply Sneezy Waters, is ved. I’d known about him for a long time and the Ottawa Sneezy, as it turns out, has recently released an album business as usual. Sneezy renders folk music—not cowboy Valley singer- had yet to give me the nod. What reflecting his roots and then some. He’s pumped up with or western or rock—with respect, reverence, and passion. gives? I’d recorded drums for most of his peers. the thought of performing the tunes live. Mind you, it’s not As Norm discovers, it’s without artifice, affection, or- an as if he needs to register new repertoire. He could go out noying leaps of faith. Maybe he knew what I’d discover later. That my joyous on a three-night mini-tour, first night in Saskatoon, next copping of the old radio percussionists’ vibe—you know, one in Sydney, and finish in Sudbury without repeating a spinning a ratchet to shadow the cowpoke setting off into single song. eNews Harp June 2013 page 7 of 25 FEATURE the desert—maybe was more vaudeville than art, more speaks to folks. He’s not copping any feel or delivery, al- clatter than calm. It’s not like I lost the few gigs we did though certainly all the phrasing and timbres from Pete over a couple of weeks; but I never got a call back. Seeger and his other early influences combine in his deli- This was at the back of my mind when I picked up the very. But Sneezy is no shtick artist nor is he a caricature. phone recently to interview Sneezy Waters on behalf of His unaffected couch charisma, abundantly obvious in his Local 180. He’d probably forgotten me. I’d certainly never rendering of John Prine for an audience of one, sealed it for forget him. Pinned on my fridge is a photo of me the week me: Sneezy Waters is a one-off. I played with him, wearing his red Sawdust on the Floor of Mind you, what with his public record, which includes his Your Heart album cover T-shirt. theatrical production Hank Williams: The Show He Never Sneezy picked up after waiting three rings. “Yes, of course Gave, you might be excused for casting him as a messen- I remember you,” he quipped without blinking. “You’re the ger and not an originator, it’d be an erroneous assumption. tall drummer with golden blonde hair. And you play loud!” Might as well dismiss Frank Sinatra while we’re at it. Fact is, Sneezy’s labor is one of love, whether it’s his sprinkling There you go. Guilty as charged. The larger issue, as I dis- of noble originals or his interpretations of classics both covered in his living room, is not so much my drumming popular and obscure, and he’d rouse folk with “Row Your as the fact that when Sneezy renders as song it wants for Boat”, simply because it’s his mandate. nothing, certainly not rickety drum commentary. Subtlety from his accompanists fosters space in which Sneezy can Scratch further and it’s plain that Sneezy is what he calls trade nuances with musicians and audiences. a “fraternity man”. When we chatted, he set right the his- tory of Local 180 and I was taken aback. You see, I’ve A Good Song Plays Itself vacillated between union and gray market wherever the work took me. Sneezy Waters has been a diehard union Case in point. We were chatting in his apartment and I musician since day-one. happened to mention the John Prine tune, “Angel from Montgomery”. He agreed with me that the desperate en- When it came time to record his latest album, curiously ervation of the old woman (“named after my mother”) entitled Sneezy Waters, almost as if it were his debut (or Sneezy Waters was powerfully laid out, right down to flies buzzing in the more properly, I guess, a rebirth?), he logged every single [ kitchen. hour. He showed me the sort of accounting he’d done; it staggered me. You know when you do your taxes and you is a one-off. Sneezy seized a guitar, one of his many desirable vintage haven’t quite gotten your mileage log together and have ] (and modern) instruments, and related a more obscure to fudge it in order to file? Not Sneezy. He keeps textbook John Prine tune, “All the Best”. His voice -- Sneezy’s, not Revenue Canada/IRS-style ledgers. Prine’s -- filled every corner of the room and I got a wee “I have contributed uninterrupted to the pension fund shiver. I didn’t immediately own up to my response, howe- Which means that he tracks the movements of his musi- for years,” he says. “When I joined it was a different ver—not until Sneezy welled up a tear in his eye too large cians as faithfully as a bank security cam. Somebody co- membership and a different clout. You’d see in the month- to shrug off. mes, goes, stays and plays? He or she gets paid their due. ly newsletter there were certain clubs you couldn’t play— This extends from producer Ian Tamblyn down through blacklisted establishments. Nowadays you see, ‘the fol- Sneezy’s voice is as evocative as ever. Only thing is that Dave Bignell, Ed Bimm, Ross Murray, Don Johnson, Anne lowing clubs will sign union contracts’. I think that union today it’s more complete. As he put it, he’s somewhat for- Downey, and a cast of guests. contracts and dues are reasonable, especially when you saken a nasal vocal delivery, something he affected not to consider you have access to union lawyers and to people copy his influences but to project his voice, unamplified, As he spoke about this righteous requirement to reimburse who can straighten you out of jams.” when busking. Nowadays, though, his voice arises from a for the record, I thought back to our fleeting gigs in the deeper place. We hear Sneezy Waters purer, closer to the late seventies. Sure enough, and I have a diary to prove bone, to borrow a lyric from Kris Kristofferson. It is com- it, Sneezy paid handsomely compared to other artists with mitment in word and deed, a mobilization of resources in whom I’d worked (and there were many in the studio) and rendering reality. Sneezy’s wages often exceeded both scale and the remu- neration others offered. It’s only right, says Sneezy, only Sneezy Waters is a folk musician. He’s a singer-songwriter, fair. although he denigrates the latter in favor of the former (“yeah, well on that one I only wrote the music...”) who eNews Harp June 2013 page 8 of 25 FEATURE

Missing and Modus Ian took great pain and delight in getting me to sing wit- “I miss George Essery,” Sneezy admits and you look into hout funneling it through my nose. Combine that with me his eyes and see he’s not fibbing. “He died at age 88. I was stopping smoking, it helped me quit for good. Within a few close to him during the last twenty or thirty years of his weeks, I could smell good smells, bad smells and anything life—and he’d lived the life. When he played the Skyline between. The most dramatic thing was that I regained the (hotel in Ottawa, now the Delta), he slept in the back of his ability to sustain a note until the cows come home!” pickup truck on a nearby street. But he was a union guy and Dream, Dream, Dream always showed up at the gig dressed in black pants, shiny cowboy boots—immaculate. By the age of 12 he’d gotten “My brother and I would play Everly Brothers’ hits,” Sneezy a job on a schooner out of Nova Scotia; he’d come from recalls. “They were an enormous influence on us, even be- a broken-home, an expression we don’t use these days. I fore we played guitar. I started playing with Pat Crawley, guess you’d say he was an orphan. He was a strong man. and later his brother Sandy, and we played these Dixie He know about fixing things such as small engines. He (brand) ‘banjo-ukes’, which had a poured metal neck and was extremely practical—as well as fluent on so many ins- frame—good fighting machines! Ukuleles with the punch truments. George’s intonation was perfect, too. He played of banjos. steel and I’d throw second choruses at him. With me, his “My mother and father were both influential as musicians main instruments were steel, banjo, and fiddle on a couple and they had musician friends come around. My mother of tunes. He also did a couple of songs on trumpet—espe- played piano and sang and was a schooled singer; and thing unfolded naturally. When I was working in Denver at cially when Normy Clark (the legendary saxophonist) was her mother played piano for me when she was 97! Every the folklore center. My boss had gone down to Mexico and with us. They’d play all of the jazz standards; they knew Saturday night, before I got involved with the Crawleys, he put me and my girlfriend to work minding the store. all the changes. we would do this book (hands me a heavy volume), The They had instruments for sale...seven Martins on the wall. “On the latest album, the track ‘Brother Could You Spare Fireside Book of Folk Songs. My mother could go through I asked him if I could have the mandolin if I could sell all a Dime?’ is a tribute to George. I remember he’d crossed this stuff perfectly. If ever I wasn’t sure of a song, I’d go to of those Martins. It was down to the wire but the day be- over to Fort Erie years ago and won first prize of $15 for my mother and she’d read it and play it perfectly. And my fore he returned from Mexico, I managed to sell the last singing that tune.” dad would sing the bass part.” Martin!” No surprise, then, to hear that as a youth Sneezy joined Another name arises and Sneezy’s eyes mist again. The Instruments and The Players Speaking about the late Zeke Mazurek, Sneezy typifies a choir. He augmented his sketchy reading abilities with him as, “a great musician and also a rambler. As a youth 20/20 peripheral vision, meaning he’d keep an eye on his As for current band members, Sneezy speaks of his long he joined the Oshawa Symphony We became close friends peers left and right. When in doubt, he copped their parts time collaboration with Vince Halfhide. “To listen to Vince and when we got together with George we were invincible. and nobody was the wiser! play his own back-up to his singing is memorable,” Sneezy says. “He doesn’t blow his own horn or practice inces- We played in the National Arts Centre; we played on the At one point in our conversation, Sneezy photocopied me santly but he seems to get better each time I see him. street. If I was sitting there, I’d start to open my case and an old song list—five or six pages, as I recall, and the He’s faithful to what I’m doing. I give him opportunities to he’d already have his opened and his fiddle ready to play material was as diverse as the day is long. He’d turn to wail-- a second chorus for example. And you should hear … and make people happy.” another of his instruments, a 1963 Gibson ES-125T, and the new songs Vince has written. They’re not in reggae strum changes and hum a few bars if I blanked out on This is a thread that runs through our discussion and, or any other style Vince is known for. They’re really nice, the song titles. I remember commenting on the tone and indeed, Sneezy’s past. When you play on a street corner, especially the beautiful ballads”. the immediacy is palpable, the signal chain and sound presence and Sneezy hastened to draw my attention to a unobstructed by amplification. revered Martin and, just beyond it, to a 1920s Regal ma- Talk turns to another musician who contributes his fair hogany/spruce parlor guitar. It sat in good company, to its share to the recent album: “Dave Bignell knows a lot about “When we did this album”, says Sneezy, “I wanted to do left a Gibson A-1 1920 mandolin. those low tones you get from a country reverb guitar. an acoustic album. A lot of times I’d had records that were And Ed Bimm is one of those masters of various styles. “I’m not into old gear,” he says. “It could be any good good and were rocking...lots of horns and drums. On this I’ve played with him for years, including in The Excellent sounding instrument. For example, my brother gave me one, though, I wanted to play folk songs. We were using Band. Ed knows so many genres of music....and can read brushes (on drums), upright bass, acoustic piano... and the Godin hanging over there. It’s not vintage. The vintage

eNews Harp June 2013 page 9 of 25 FEATURE

well and help arrange material. He’s very solid in a time Sneezy grinned in all directions. What kind of music was it? sense. This is also a strength of Anne Downey, who covers It was cowboy songs and stuff and ‘In the Jailhouse Now’, bass, banjo, and guitar in any number of styles. She’s got for one, and an old Tex-Mex sort of, well, top-forty sort good meter, good tone, and keeps it simple. Same with of thing....and Woody Guthrie’s social consciousness....I Don Johnson (drummer), who I’ve seen so many times loved it all and not least of all, the great togetherness and play at the Art Centre. I asked him to do a few tracks. And joy back stage and on. Well it was magic! Sneezy was the Ross Murray, who is really comfortable with a click track, catalyst, the wizard who brought it all together. Some did all the rest. He does his own version of what Don does people say he’s going to be a big star...I don’t know. The and it always sounds authentic.” thing I don’t know is what makes a ‘big star’. If it’s a mat- As we speak, Sneezy is looking to have a good time per- ter of making audiences love you, then Sneezy will be a big forming at the refurbished Wakefield community hall. “It’s star. Stars are supposed to be ruthless and obsessed and to ucehomage to the 9/11 anniversary,” he says. “And driven. I don’t think Sneezy will be anybody’s ‘big star’ but I’m booked way beyond that, too. We’re playing the NAC I hope he will continue to be a small one, going on, making Fourth Stage for two nights in November and into the new friends, and picking up enough bread to keep on his Easy year.” Sneezy way!” Foresight, planning, organization—it’s all well and good. It’s nicer the way music unfolds. We learn from our peers. T Bruce wearing Sneezy’s Sawdust T-shirt But there’s a deeper thing happening, Sneezy suggest:. Thanks to the musicians’ union, we can are surrounded “Yes, of course I remember you,” he quipped without blinking. “I think the band likes working for me as an employer. by expertise—and, if we slip, a hand to help us get back “You’re the tall drummer with golden blonde hair. And I think they like the variety—you know, three reggae to our feet. This is the milieu from which Sneezy Waters And you play loud!” tunes, three old jazz tunes...old country ballads that are emerged and it’s one he supports adamantly, putting his heart-breaking. We do those and you can hear a pin drop. money where his mouth is. I think musicians and audiences enjoy the freedom I offer.” As a parting note, Sneezy alludes to the notion of humility, Freedom to stretch out, improvise...talk gravitates to which we’d broached earlier. Normy Clark, a master of jazz saxophone and, as it turns “I’ve always surrounded myself with musicians I conside- out, a not-too-shabby writer. In a magazine article, Norm red better than me. It’s not just a question of me calling described his first encounters with Sneezy Waters in the upon big names. It’s more about me knowing that I can early 1970s: learn from them.” Here I was, somehow hired to play in the Sneezy Waters Band at the National Arts Centre, a heavily prestigious © 2013. and, in fact, arty place, far removed from the saloons and bowling banquets where I’ve have pursued my art these T Bruce Wittet many years. Of course, there were rehearsals before this high-class engagement; but, unfortunately, I was able to attend only one of them for I was ravaged by some vile disease that impelled me to dash from the room at inter- vals. But no matter, Monday night Sneezy Waters and His Excellent Band opened and from the first note it was a triumph and a wonder and a musical delight to me and, I am sure, to all the musicians involved and the audience. The people loved Sneezy and gave him their rapt attention and uproarious applause. I’ve never seen anything like it; never been part of anything of anything like it. It was a love affair. All week long, the guys in the band just beamed at one another and the people yelled their approval. And eNews Harp June 2013 page 10 of 25 FEATURE

Sneezy Waters and His Very Fine Band take the show on the road to Wakefield The legendary Sneezy Waters is back doing live shows for «Best Group - World Music»). In recent years Vince Ross Murray has been a freelance musician/recordist with some of the best musicians around and they’ll has also built up a repertoire of original songs with since 1980. He has worked extensively as a producer, be playing at the new Wakefield Centre on Saturday lyrics as expressive and evocative as his guitar work. engineer and accompanist, collaborating with bands, June 1st. With the release of a new CD (2012) and a Vince Halfhide has performed with Sneezy Waters for composers, choreographers and filmmakers from show at the NAC 4th Stage earlier this year, Sneezy almost four decades, playing on both Sneezy’s first all across Canada, the United States and England. has a fresh energy and passion for performing with recording (Sawdust On The Floor Of Your Heart, 1978) Studio recordings include , Great His Very Fine Band featuring Vince Halfhide and Dave and his most recent (Sneezy Waters). His musical vo- Big Sea, East Village Opera Company, Jane Siberry, Bignell on guitar, Ed Bimm on keyboards, Ann Downey cabulary, eclectic while always respectful of roots and Mighty Popo, Lynn Miles, The Henrys, Dutch Mason, on double bass and Ross Murray on drums. tradition, is a great fit with Sneezy’s artistry. Pathological Lovers, Ana Miura, Ian Tamblyn, Suzie “I’m really looking forward to playing this concert in Dave Bignell plays and has played guitar with the Vinnick, Mike Evan, John Geggie/ Donny McCaslan. He Wakefield,” says Sneezy, “Especially with this band – Hammerheads, Lucky Ron & the Rhode Island Reds, has played with Big Sugar, Great Big Sea, Etta James, they’re all acclaimed musicians in their own right. We Lonesome Paul, the Lake Effect, the Red Squares, Bo Didley, Percy Sledge, Mighty Popo, East Village have a great repertoire of songs and styles and we’ll the Al Millar Band to name a few. He also keeps busy Opera Company, Calypso Rose, Charlie McCoy, Prairie be playing traditional ballads as well as tunes that will mixing CDs for many local artists including the latest Oyster, Madagascar Slim, American Indie Film Awards, get people up on the dance floor.” release from Sneezy Waters. Lucie Idlout, Lynn Miles, Sneezy Waters and Richard Barry among others. Sneezy Waters has been playing music professionally Ed Bimm has done studio work and toured with recor- for 50 years. During this time he has amassed a huge ding artists such as Susan Aglukark, Charlie Major, Ian The concert takes place on Saturday June 1st in collection of songs which he interprets with passion Tamblyn, Les Emmerson, Sneezy Waters, The Cooper the Wakefield Centre Great Hall, the new 180- and sensitivity. His tunes are drawn from Folk, Swing, Brothers, Family Brown and Wayne Rostadt. Ed has seat performance space. Show starts at 7:30 pm, Blues, Reggae, and Rock. He has played in every also written music for CBC, CTV and the National Film doors open at 7:00 pm. Tickets are $17 advance Province and Territory in Canada, including every ma- Board of Canada. Ed and his music have appeared on and $20 at the door. TV shows (Under The Umbrella Tree, Family Brown and jor folk festival, as well as residencies in South East Advance tickets are on sale at: Asia and Europe. Sneezy has starred in over 700 per- Sesame Street). Spending two years in Los Angeles formances of the play «Hank Williams: the Show He doing session work and recording with various musi- • Wakefield Centre, 38 Valley Drive, Wakefield; Never Gave», and acted in the film of the same name. cians helped to round out his experience. • Ottawa Folklore Centre, 1111 Bank Street, Ottawa; This movie was nominated in 1983 for Best Film at the Ann Downey is a singer and multi instrumentalist • Les Fougères Restaurant, 783 rte 105, Chelsea; Country Music Hall of Fame Awards, placing second to (upright bass, clawhammer banjo, and guitar) with «Tender Mercies». Other film work includes «Love Is wide musical tastes. Ann sits in comfortably with old • Municipality of La Pêche, 1 Principale Ouest, La Blind» which is an episode of The Twilight Zone, and timey Appalachian, country, swing, jazz, bluegrass, Pêche; and can be seen on You Tube. He was nominated for Best and klezmer. She has an affinity for yodeling and wac- • Online at www.wakefieldcentre.ca. Traditional Singer at the 2012 Canadian Folk Music ky songs, but one of her greatest joys is finding preci- For more information about Sneezy Waters go to: Awards for his 4th CD release «Sneezy Waters». sely the right harmony. She has lived and played music www.sneezywaters.com Vince Halfhide began his musical career in 1969 with all over Europe and North America. She grew up most- For more information about the Wakefield Centre go the Ottawa blues / R&B / reggae band Heaven’s Radio. ly in the southwestern U.S., but is now well settled to: www.wakefieldcentre.ca He has performed with numerous artists (Andrea and in Ottawa. She teaches banjo at the Ottawa Folklore the Fun Guys, the Jivewires, Larry “the Bird” Mootham, Centre, and can be heard live and on recordings with Sneezy Waters, Ball And Chain, the Toasted Westerns) Sneezy Waters and his Very Fine Band, Finest Kind, in a variety of idioms, from blues, country, folk and the Old Sod Band, Pat Moore and the Vinyl Frontier, jazz to the African music of the Mighty Popo (whose among others. CD Muhazi received a 2007 Canadian Folk Music Award

eNews Harp June 2013 page 11 of 25 FEATURE The Orpheus Theatre by Marlene & Drum Hudson rpheus Musical Theatre Society is the oldest, con- James Alexander Smith founded the Orpheus Glee Club tinuously performing, amateur musical theatre and Operatic Society in 1906. We have grown from our Ogroup in North America. Our Mission Statement is early beginnings (1906 – 1916) as a Glee Club presenting “to produce, perform, and promote quality musical enter- recitals and concerts, to performing a mixture of Gilbert & tainment for the community by a society of volunteers.” Sullivan (Iolanthe, Yeomen of The Guard, The Gondoliers, H.M.S. Pinafore, The Pirates of Penzance, The Mikado) and Orpheus is pleased to have the continued support of the old favourite operettas such as The Vagabond King, Merrie Musicians’ Association of Ottawa-Gatineau, Huntsville and England, The Chocolate Soldier, and Rose Marie, to final- Sudbury Local 180 in providing contracts for professional ly Broadway Musicals. For the 1955-56 anniversary sea- musicians under clause 4A Amateur Theatre in the price son, Orpheus decided it was time to be daring and tackle list booklet. This clause allows us the privilege of using Oklahoma! The show had been a turning point in the professional musicians for our performances at a substan- history of musical theatre when it was first presented on tial saving. Broadway in 1947. The Orpheus production would be the Orpheus is a charity-based organization, and as such, the first time Oklahoma! was produced on any Canadian stage heart and soul of our organization is its volunteers: paint- and its success provided a turning point in direction for ers - carpenters - sewers and cutters - stagehands - de- Orpheus history. Russell House, 1875 signers - actors - dancers - singers and artists of every At first, Orpheus performances were held in The Russell description, directors, and committee members, the list Hotel until a fire destroyed in it April 1928, after which the goes on. As such, we are constantly looking for volunteers. 1500-seat theatre and hotel were demolished to make Although we aspire to professional standards, Orpheus is way for the National Capital Commission’s Confederation not a professional theatre company. Literally thousands Square. of volunteer hours are needed each year to keep the “Orpheus engine” running smoothly in order to put on the best performances we possibly can. Orpheus relies on its volunteers as well as the generosity of its patrons, and it encourages people from all walks of life to contact us and get involved. A Board of Directors, whose members are elected at the Annual Meetings, governs the operations of the Society, and the focus is to produce quality musical entertainment. For the purpose of assuring continued development of the Corporation and jurisdiction over investment of profits, a Board of Trustees is appointed. Founder James Alexander Smith Governor-General and Mrs. Mitchener congratulate Flower Drum Song cast members Wally (Michael) Burgess, Paulette Burgess, Sheila Usher and Joy Phillips

eNews Harp June 2013 page 12 of 25 FEATURE

A temporary performance venue was used between 1928 In 1949, Orpheus became incorporated under provincial A Salute to the American Musical (SAM), was pro- and 1930, through joint efforts with the Rotary Club of statutes, receiving its official seal and formally named “The duced by Orpheus in 1976, written by Nancy Turner, Frank Ottawa. Orpheus and the Rotary Club would present an- Orpheus Operatic Society of Ottawa”. That same year, the Burke and Paul Gaffney. They researched and wrote the nual light fare at the brand new Little Theatre, home of Society found its present home, at 17 Fairmont Avenue. script and selected the musical numbers that would de- the Ottawa Drama League. Orpheus shifted venues once It was not until 1995 that the society became “Orpheus pict the evolution of the American Musical art form. Their again and continued productions at the Ottawa Technical Musical Theatre Society.” biggest challenge was not deciding what numbers to use High School until 1968 when the performance venue shift- but rather which ones to leave out. The eventual lineup in- ed to the High School of Commerce (known currently as cluded forty-five musical sequences and highlighted won- the Adult High School). In 1995, Orpheus took a huge derful numbers from a lot of shows that never made it to step moving to Nepean’s Centrepointe Theatre, where we the Orpheus stage as regular seasonal offerings and yet, continue to present three Broadway Musicals each season. as stand-alone pieces, were delightfully entertaining. The cast of S.A.M. featured seventy-six talented performers.

Musical Director “Duke” McGuirl and Accompanist Lorna Rice during a rehearsal

Nancy Turner Frank Burke Paul Gaffney Berthold Carrière, one of our first The Spirit of Orpheus, a historical revue of our first 100 contractors! years, was written by Michael Gareau and John McGovern, and orchestrated specifically for us by Mark Ferguson. This 100th anniversary musical extravaganza was a wonderful Orpheus is very proud to have its own building which con- reprise of some of the best numbers to ever grace the tains a workshop, a paint loft, costume department with a Orpheus stage, representing music from over sixty-five A photograph of Orpheus House when it was sewing area, a Boardroom, a green room, a kitchen and of different shows as well as three original songs created for St. Matthias Church course, the rehearsal space, the Lorna Rice Memorial Hall. this celebration. It featured Glee Club favourites, Gilbert Commissioned works featured quite prominently in and Sullivan ditties, operetta excerpts, and song and Orpheus history. In 1971 President Nancy Turner and her dance selections from Broadway’s greatest hits. Fifty-four Board of Directors had courageously commissioned an cast members performed this cavalcade of the most mem- original show based on the book “Man From Glengarry” orable musical moments - past, present and future - with by Ralph Connor. The show, written by Bob Gardiner with everything from Oklahoma! to Mamma Mia. music by Bert Carrière, was called Glengarry Days.

eNews Harp June 2013 page 13 of 25 FEATURE

Orpheus also has a thriving Angel Support Network. Many patrons who enjoy our shows have chosen to make donations to Orpheus and benefit from charitable dona- tion receipts at tax time. Support amounts are varied and the “perks” are many. We are proud of our heritage and of the Orpheus Choral Group, a large mixed choir which performs outreach con- certs at many locations around the region. The choral Marlene Hudson group also affords members who do not participate in the staged musicals the opportunity to sing for audiences. We consider Orpheus a “society” which means that we Sol Gunner like to have fun. Our productions begin months in ad- vance with planning sessions for the directing and de- signing teams, continuing to the audition process for casting, then rehearsal and building schedules which all lead to the performances at Centrepointe Theatre. Marlene is the current President of the Society and Drum Don Johnson is the orchestra contractor representing Local 180. For those who do not know, Orpheus is now complet- ing its 107th season, with a performance of Rodgers & Hammerstein’s Carousel, under the baton of Musical Director Drum Hudson. Performance dates at Centrepointe Theatre are May 31 - June 9, 2013. Don’t be disappointed. Get your tickets early through John McGovern Centrepointe Theatre! Student promotions include Eyego www.orpheus-theatre.ca ($5 for high school students with ID) and for university students with ID, rush balcony seats for $11.25. Dave Renaud Hope to see you there!

Marlene & Drum Hudson

Keith Estabrooks Mike Mullin Marlene and Drum Hudson Some selected orchestra photos from pictured here during The Spirit of Orpheus Titanic, The Musical tech rehearsal.

eNews Harp June 2013 page 14 of 25 COUNTRY MUSIC NEWS The country songwriting capital

ne of the strengths of the Ottawa- who was inducted into the Ottawa Valley bred country music world has Country Music Hall Of Fame in 2005, O long been its . In this is next on the list with most songs (6) column we recently covered the “The earning placement on the Billboard Country Side Of Paul Anka”, and while his charts, including a #3 hit in 2004 with his songwriting credits make him the most co-written “I Wanna Do It All” recorded prolific of Ottawa-raised songwriters, he by fellow-Canuck Terri Clark. Godard’s is by no means alone in the category. co-written songs have also been chart- In fact, several others have earned size- ed by Nashville artists Tracy Byrd, Patty able international recognition with their Loveless, Ty Herndon and Blackhawk. songs recorded by the top acts in coun- Barry Brown, famed for his many years try music and earning spots on the pres- as the main song contributor for the tigious Billboard Country Hits Charts. by Larry Delaney Ottawa-based multi-award winning Perhaps the most significant of these group Family Brown, has also seen five chart hits would be the Charlie Major- of his songs hit the Billboard Country penned song “Backroads”, which was Charts, with four of his songs charted by recorded by Nashville recording artist Family Brown during the early 1980’s, Ricky Van Shelton, who scored a #2 hit and Texas-bred singer Rosemary Sharp in 1992 with the song. Major, who was charting in 1987 with his song “Don’t born in Aylmer, Quebec, has enjoyed You Go And Leave Me”. great success on the Canadian scene, including three successive mid-90’s ... From the valley to the big city wins as the Canadian Country Music Molly-Ann Leikin, a Fisher Park High Association’s Male Vocalist Of The Year... School grad, who left Ottawa in her late still, it his “Backroads” song that he is teens to search fame in the more electri- Ottawa’s Bluegrass song-writing community best remembered for at the international fying Los Angeles entertainment world, is also well represented with Mike O’Reilly level. leading the way. did exactly that with her songwriting tal- Two of the 8 songs written by Paul Anka ents, earning numerous Pop and Country to reach the Billboard Country Charts chart hits. Leikin’s first entry came in peaked out at the #2 position with Elvis 1975 when Billie Jo Spears scored a Top Presley’s countrified version of the Pop 20 hit with the Leikin song “Silver Wings hit “My Way”, and Donna Fargo equaling & Golden Rings”; that was followed in the position with her pop/country ren- 1977 by Barbara Fairchild’s #22 hit “Let dition of “Do I Love You”, both of which Me Love You Once Before I Go”. Leikin’s charted in 1978. He also saw his songs best showing as a songwriter on the recorded by Ray Price, Linda Ronstadt, Billboard Charts came in 1979 with the Sunday Sharpe, Diane Trask and R.C. Susie Allanson recording of “Two Steps Bannon reach the Billboard charts dur- Forward & Three Steps Back”. Leikin, ing the 1970’s. who has also had her songs recorded by Dottie West, Lynn Anderson, Jody Miller, Cornwall-born songwriter Gilles Godard,

eNews Harp June 2013 page 15 of 25 COUNTRY MUSIC NEWS

Anne Murray, Dusty Springfield, Cher, “Take Me As I Am” ballad recorded and others, is now a successful music by Nashville’s Bill Nash; Ward Allen consultant on the Los Angeles scene (of The Happy Wanderers fame) has and also the author of several “How seen his classic fiddle composition To Write A Song” books. “Maple Sugar” recorded by numerous Richard Cooper of Ottawa’s The Cooper North American fiddle champions, Brothers rock band saw his classic and a version with lyrics “Maple Sugar composition “The Dream Never Dies” Sweetheart”, which Allan collaborated covered by Country Hall Of Famer Bill on with Hank Rivers, was recorded by Anderson in 1979, and not surprisingly bluegrass legend Mac Wiseman. Anderson scored a Top 40 hit with the song on the Billboard Country Charts. Ottawa’s Bluegrass songwriting com- Anderson, himself one of Nashville’s munity is also well represented with most prolific songwriters (City Lights Mike O’Reilly leading the way. In 2010 / Once A Day / Still, etc.), also used one of O’Reilly’s songs - “Court Of another Ottawa-based songwriter Love” was recorded by U.S. bluegrass for his 1984 chart entry of the Terry diva Rhonda Vincent with her version Carisse-penned “Your Eyes Don’t Lie topping the Bluegrass Hit charts state- To Me”. side. Previously O’Reilly’s songs had Historically, the first Ottawa-born been recorded by top American blue- songwriter to have one of his songs grass artists like Del McCoury, Charlie earn a spot on the Billboard Charts Waller & The Country Gentlemen, The was Rudy (Lariviere) Rivers, with his Lost And Found, Dan Paisley, Blue song “Pushed In A Corner” claiming Ridge and others. Barry Brown (of a #11 hit by country traditionalist Family Brown) has seen his bluegrass/ Ernest Ashworth. Rudy Rivers was the brother of Ottawa Valley Country gospel song “Carpenter Of Wood” re- Music Hall Of Famer Hank (Lariviere) corded by The Bluegrass Cardinals and Rivers. by Brush Arbor, while songwriter/en- vironmental activist Bruce Cockburn ...And the list goes on had his early folk song “One Day I’ll While all of the above Ottawa Valley- Walk” recorded by bluegrass act Front bred songwriters have been listed Line...and not to be overlooked in this here for having their songs reach category is the classic Paul Anka song the Billboard Country Hits Charts, it “It Doesn’t Matter Anymore”, which should be noted that several others has been recorded by various blue- have also had their songs recorded by grass acts including The Grass Cats, Nashville artists as uncharted singles, Lare Williams and Frances Mooney. flip-sides of charted singles, or sim- ply as album cuts, all as equally im- Needless to say... some great songs, portant from a songwriter’s perspec- by some talented songwriters, have tive. Wayne Rostad had his classic come out of the Ottawa Valley.

eNews Harp June 2013 page 16 of 25 JAZZ NEWS Jazz Journalists Association JJA Awards

2013 Jazz Heroes by James Hale Congratulations, Roddy!

‘Jazz Heroes’ are activists, advocates, al- Roddy began his musical adventure improvising on his truists, aiders and abettors of jazz who grandmother’s piano but soon switched to his life-long in- JJA have had significant impact in their local strument, the guitar. While writing and performing with communities. The ‘Jazz Hero’ awards, made on the basis his own quartet and trio throughout the 1970s and ‘80s of nominations from community members, are presented he also had the opportunity to play traditional jazz with Roddy Elias in conjunction with the Jazz Journalists Association’s an- such of Canada’s finest musicians as Rob McConnell, nual Jazz Awards honoring significant achievements in Claude Ranger, Dave Young, Terry Clarke, Lorne Lofsky, jazz music and journalism. Chelsea Bridge, Guido Basso, Kenny Wheeler and Michel The award was presented to Roddy at a gala event at Donato, as well as many international artists. He’s taught Carleton University on April 30th, 2013. jazz improvisation, composition, ear training and guitar at 1. Beegie Adair-Nashville,TN Canadian universities including the , This year’s winners are: 2. Craig Alston- Baltimore, MD For more than four decades Roddy Ellias has been one St. Francis Xavier University and McGill University; he’s 3. Robbin Ahrold- New York City of Canada’s most respected guitarists, composers and currently Professor Emeritus at Concordia University and jazz educators, dedicating his musical life to combining teaches at Carleton University, where he has just intro- 4. Scotty Barnhart- Tallahassee, FL elements, aesthetics and techniques of classical music duced its first jazz improvisation course and has intiated a 5. Marcus Belgrave, Detroit with those of jazz. His first substantial success in this three-day Guitar Now festival (May 3-5) featuring players 6. Karl Berger & Ingrid Sertso- Woodstock, NY. attempt was with two pieces he wrote in 1994, «Whale including Ben Monder and Vic Juris. 7. Mwata Bowden- Chicago Spirit Rising,» a 26-minute concerto for baritone saxo- 8. Sonny Buxton- San Francisco Bay Area phonist David Mott and string orchestra, and «Songs and Indeed, teaching and mentoring young musicians has al- 9. Arni Cheatham- Boston Dances,» a ten-movement suite for string orchestra and ways been high on Ellias’ agenda — many of his students jazz trumpet. Shortly thereafter he recorded Oasis, a have gone on to successful music careers — and, having in 10. Tim Coakley- Schenectady, NY solo CD with 13 original compositions influenced by the 2009 received the Ottawa International Jazz Festival Award 11. Roddy Ellias- Ottawa, Canada harmony and melody of classical music but anchored in of Distinction, he’s pleased to have been asked to coach 12. Jeff Haskell- Tucson, AZ the Ottawa Jazz Festival’s JazzEd program, convening nine improvisation of the jazz tradition. He’s currently writing 13. Willard Jenkins- Washington, DC talented high school musicians weekly for three months commissioned music for Germany’s Meininger Trio and 14. Edward «Kidd» Jordan- New Orleans Montreal’s Duo Beija-Flor. in preparation for a performance at this years’ fest. Those students and many professionals, too, should aspire to the 15. Randall Kline- Western Jazz Presenters Network Jazz Hero econium’s heaped on Roddy, such as these of JJA members 16. Marty Liquori- Gainesville, FL and unaffiliated colleagues:»Exquisite … a most thought- 17. Lissa May- Bloomington, IN ful soloist … the kind of subtlety you don’t often hear … 18. Jim Miller- Philadelphia The Piano Caper www.pianocaper.ca anywhere.» Mark Miller, Canadian critic and author; « ... 19. Dr. James Hardy Patterson- Atlanta from the start (Ellias) delivered insightful solos treading 20. Dr. James Polk– Austin, TX the inside/outside line ... he was on fire ...» John Kelman, An opportunity for you to record on one of All About Jazz; «Positively brilliant.» Bill McBernie, Planet 21. Julian Priester- Seattle the great pianos of the world. Jazz; «Nothing was more beautiful than Ellias’ piece ‘Too 22. Bill Royston- Portland OR Far,’ which . . . created in the crowd a silence that spoke 23. Ken Tittelbaugh– Nogales, AZ Toll-free: 1-888-238-9777 volumes before applause did ensue.» Peter Hum, musician 24. Jim Wadsworth- Cleveland Tel: 613-346-0460 and critic, Ottawa Observer. 25. Melissa Walker- Newark, NJBecoming a Member Email: [email protected] eNews Harp June 2013 page 17 of 25

The Piano Caper ad.indd 1 09/04/13 9:53 AM LOCAL 180

MUSICIANS’ PENSION FUND OF CANDA MPF CANADA View the recent Webinar and FAQ’s online. 2013 MEMBERSHIP DUES!!! www.mpfcanada.ca

REGULAR $174.00 LIFE $87.00 GENERAL MEETING MEMBERS MEMBERS DATES FOR 2013 If paid in full by If paid in full by Members, $164.00 $77.00 January 31, 2013 January 31, 2013 Please take note of the 2013 General Meeting dates. If paid by March 31, 2013 (1st If paid by March 31, 2013 Our hope is that knowing $87.00 $43.50 the dates this far in advance, Half) (1st Half) many more of you can plan on attending! If paid by September 30, 2013 If paid by September 30, $87.00 $43.50 (2nd Half) 2013 (2nd Half) GENERAL MEETINGS IN 2013

Monday - March 18, 2013

Monday - June 3, 2013

Monday – September 16, 2013 SAVE THE DATE! Office Hours LOCAL 180 General Meeting Monday – December 9, 2013 MONDAY TO FRIDAY 10:00 AM TO 4:00 PM. Nominations Monday , June 3rd The office is closed on the following dates: Meeting 7:30 pm (Doors open at 7 pm) Good Friday – March 29 Remembrance Day –November 11 Monday , September 16th th Easter Monday – April 1 Christmas Eve –December 24 280 Metcalfe St, 5 floor 7:30 pm (Doors open at 7 pm)

Local 180 Office th Victoria Day – May 20 Christmas Day –December 25 Next Meeting: September 16 280 Metcalfe St, 5th floor 280 Metcalfe Street Canada Day –July1 Boxing Day –December 26 Suite 301, Civic Holiday – August 5 New Year’s Eve –December 31 Ottawa, Ontario K2P 1R7 Labour Day –September 2 New Years’ Day –January 1, 2014 Tel: 613-235-3253 Thanksgiving Day- October 14 Fax: 613-235-3383 Toll Free: 855-235-2353 General inquiries: [email protected] eNews Harp June 2013 page 18 of 25 LOCAL 180

Hereunder is the recommendation from the 2013 Rates Committee to Officers and Executive Board of The Musicians’ Association of Ottawa- Rates Committee Report Gatineau Huntsville and Sudbury Local 180. Submitted for Approval.

Page 1 Clause 2B – AUDITION 9 or fewer musicians - Musician $96.00 per service Clause 5A MISCELLANEOUS INSTRUMENTALIST – change Musicians - $206.00 Leader $144.00 per service ENGAGEMENTS IN BARS, TAVERNS, Under Musicians’ Pension Fund Of heading to Leader – $309.00 Leader’s fees is optional LOUNGES OPEN TO THE PUBLIC Canada – There is a minimum 3% to Note the change in title Contractor - $309.00 a maximum of 18% contribution on Non-Playing Contractor - ,Clause 4C – Chamber Music No Changes Recommended all clauses except where specified. HOLD 2012/13 RATES $206.00 HOLD 2012/13 RATE Steward - $226.60 Page 7 …….. at a rate of .50cents per Clause 2C – COMMUNITY GROUP/ Page 6 kilometer. Add $22.00 per musician CHOIR ACCOMPANIST We also recommend a yearly Clauses 5B, 5C, 6A, 7B,C, 8A – for …. increase of $1.00, $1.50, or $2.00 Clause 4E PROFESSIONAL THEATRE HOLD 2012/13 RATES HOLD 2012/13 RATE instead of waiting 2/3 years and Class (a) Houses 1000 seats and Page 2 making a large increase. Clause 7A – ORCHESTRATING< over Page 4 COMPOSING MUSIC Clause 1A – MISCELLANEOUS Page 5 Three-Hour Call CBC Rates Shall Apply ENGAGEMENTS Clause 3A – PROFESSIONAL SHOWS Leader - $1704.00 per week (to a Please call Local 180 0ffice for rates Clause 4A AMATEUR THEATRE maximum of 8 services) 1.43% Leader - $63.00 Venues 1000 seats or fewer Musician - $1,136.00 per week (to a Drop Copying From This Heading and Musician - $42.00 10 or more musicians – Performance for 12 or more services a maximum of 8 services) 1.43% put it under 7B Musicians - $152.00 for nine (9) Musicians or less Add $22.00 per musician for Leader – $304.00 Conductor - $129.00 – O.T. $32.00/ Individual/Additional Services Clause 7B COPYING, LEAD SHEETS, engagements outside Zone C ……… Contractor - $304.00 half hour Leader - $235.50 per service - a TRANSPOSITIONS, MUSIC SOUND, Non-Playing Contractor - Contractor - $129.00– O.T. $32.00/ 1.29% increase CONSULTANT, RESEARCHER, CO- $152.00 half hour Musician - $157.00 per service – a ORDINATOR MISCELLANEOUS ENGAGEMENTS Steward - $167.20 Non-Playing Contractor - $87.00 - 1.29% increase HOLD 2012/13 RATE 9 or fewer musicians - O.T. $22.00/half hour Clause 1B – MISCELLANEOUS Musicians - $152.00 Steward - $95.70 - O.T. $23.93/half Page 8 ENGAGEMENTS Leader – $228.00 hour Class (b) Houses 500 – 999 seats Contractor - $228.00 Musician - $87.00 – O.T. $22.00/half Three-Hour Call Clause 9A & 9B - No Changes All engagements not specifically Non-Playing Contractor - hour Leader - $1,524 per week (to a Recommended covered by any other clause to $152.00 maximum of 8 services) a 1.6% a maximum of 1.5 hours and Steward - $167.20 Performance for 12 or more services increase Page 9 performed before 8:00 PM. for ten (10) Musicians or more Musician - $1,016.00 per week (to Venues 1001-3500 seats Conductor - $174.00 - O.T. $43.50/ The following combinations of Musicians Fee - $80.00 /hour or 10 or more musicians – half hour a maximum of 8 services) a 1.6% instruments are NOT considered $120.00/one and a half hours Musicians - $170.00 Contractor - $174.00 - O.T. $43.50/ increase DOUBLES Leader Fee - $120.00 Leader – $340.00 half hour Individual/Additional Services Woodwinds (a) Alto & Tenor Note: Leaders fee is optional Contractor - $340.00 Non-Playing Contractor - $87.00 Leader - $213.00 per service Saxophones Non-Playing Contractor - Steward - $95.70 - O.T. $24.00/half a 1.43% increase Add $22.00 per musician for $170.00 hour Musician - $142.00 per service Everything else stays the same. engagements outside Zone C ……… Steward - $187.00 Musician - $87.00 - O.T. $22.00/half a 1.43% increase ______9 or fewer musicians - hour Musicians - $170.00 Class (C) Houses 499 seats and In closing I’d like to thank Michel Clause 1C – MISCELLANEOUS Leader – $255.00 Please contact Drum Hudson to under Three Hour Call and Tom for their help and timely ENGAGEMENTS Contractor - $255.00 discuss the 2014/15 Rates Leader - $1,329.00 per week (to a comments. Thanks also to Mike Non-Playing Contractor - maximum of 8 services) 1.8% Mullin & Robin for their guidance and HOLD 2012/13 RATES $170.00 Clause 4B COMMUNITY ORCHESTRAS Musician - $886.00 per week (to a assistance and also thank you Dan & Steward - $187.00 OR AMATEUR OPERATIC THEATRE maximum of 8 services) 1.8% Sue for your input. Add $22.00 per musician for Individual/Additional Services engagements outside Zone C ……. Venues 3501 plus seats We put 4B & 4D together so that Leader - $183.00per service - a Committee Members Drum 10 or more musicians – when a client wants fewer than 12 1.67% increase Hudson (Chair), Tom Page 3 Musicians - $206.00 services they have to use the 4B Musician - $122.00 per service – a McMahon, Michel Cloutier. Leader – $412.00 rate, which is higher than 4A 1.67% increase Clause 2A – Solo Recital Performance Contractor - $412.00 Also in attendance was Board – HOLD 2012/13 RATE Non-Playing Contractor - 4D is to be dropped. Member Michael Mullin. $206.00 Steward - $226.60 eNews Harp June 2013 page 19 of 25 LOCAL 180 Membership Matters How to Resign in Good Standing New Members Reinstated Expelled Moving out of the region? Got a great job some- March Daniel Berriault G.E.Scott Terry where else? Taking a break from the music scene? Adam Cichillitti, Guitar, 613-857-6753 Craig Cardiff Dave Draves We are sorry to lose you, but before you leave Francois Grave, Piano/Keyboard, 819-776-0786 Michael Dubue please send us a letter or email to let us know when Tim Kealey, Bass Guitar, 613-898-5871 Virginia Dunsby you’ll be ending your membership in Local 180. Ian Nichols, Vocals, , 613-864-7775 Eric Francoeur-Stone Dan Mac Donald, , Guitar, , 613-483-6679 Michael Ieradi This will prevent any additional fees for both you Magnus Paulson, , Guitar, , 613-440-3461 David Journeaux and the Local. We can also help you transition into Kenny Saunders, , Drums, , 613-796-1324 James Leblanc another Local if you are moving! Life Membership Jeffrey Logan April Alan MacKenzie Dayton Brillinger Stephen Harris Roland Gjernes, , Cello, , 613-263-3813 Isidora Nojkovic Robert Cram Greig Lund Mark Rehder Yvon Farmer Eric Rupp May Steve Rennie Daniel Gress Janson A. Dadebo, , Bass Guitar, 613-604-8589 Matthew Young Michelle Gott, Harp, , 613-761-2563 Resignations Jenna Johnson, Guitar, Vocals, 613-422-8078 Mia Bach Jean-Francois Picard Samir Khan, Bass Guitar, 647-998-9658 Geri Childs Devon Pope You’ve Richard Maurel, Viola de Gamba, Organ, Daniel Desgroseilliers Joshua Rager Harpsichord, 613-567-8417 Tristan Green Musqwaunquot Rice Got Mail! Jesse A. McDonald, Vocal (Hip Hop), Kevin Eamon Meiko Taylor Ukulele, Theremin, Glockenspiel, 613-596-5809 Do we have your current email Alex Joly Pavelich Carol Tsai Nadia Lemaire, Flute, Piccolo, 613-834-0759 address? Lynn Peterson Cameron Walker The Local 180 Office sends out- im portant advisories to members by Suspended email and we want to make sure that Matt Abbott Jason Fryer Robert Letourneau Ferline Regis you’re not left in the dark! Caroline Addison Aura Giles Christopher Linden Nicholas Richer Jean-Pierre Amyotte John Graham Graham Lonsdale Christian Robinson Please notify the office of any chan- Megan Argue Tyler Hall Jennifer Loveless James Rooke ges to your contact information. Dean Batstone Dwayne Helberg Vince Maccarone Bruno Roussel Julien Bisaillon Angelina Hunter John MacGregor Meghan Ruel Include your phone number, home Vincent Boudreau Rodger Hunter Blake Martin Benjamin Russell address and email address. Call Tracy Brown Liam Jaeger Al Mazur Eric Sauve 613-235-3253 to make sure Natalia Cabrera Tom Joanisse Joseph O’Donnell Michael Shrives that we have your correct contact Chris Caddell Ken Kanwisher Michelle Odorico Bradley Stella Adrian Cho Christina Kasper Christian Paquette Mary Lynne Stella information. Bill Collins Peter Kasper Jon Park-Wheeler Gregory P. Stone Anthony Cook Chadia Kikonkjo Craig Pedersen Paul Telfer Michel Cousineau James Kirkham Nora Pellerin Veronique Turcotte A REMINDER ABOUT EXPELLED MEMBERS Johanne Couture Mark C. Kleyn Mark Pellizzer Robert Twiss A person who has been expelled from our Association is no longer Alistair Dennett Bobby Lalonde Maxime Philippe John Van Der Leeden a member of the Association or the AFM. Anders Drerup Diana Lam Kelly Prescott Alexander Vance Members and leaders are reminded: do not play engagements with Aidan Dugan Matthew Larkin Kaylen Prescott Paul Whiteley non-members. Persons are generally expelled for serious violations Donna Durrant-Kelsie William Lauren Adam Puddington Eric Wichman of our Constitution and By-Laws. Expulsion is not like a life sentence; Robert Filion Valerie Lemelin Paul Reda Anna Williams the individual has the right to settle these matters with the Board and regain member status. But until that step has been taken, we urge leaders and members not to give a non-member rights and privileges June 2013 which belong only to members. eNews Harp page 20 of 25 LOCAL 180

In Memoriam In Memoriam

Paul Baker Robert(August 7, 1924 – April William 25, 2013). Passed away peacefully with his loving daughters Oadesby his side at the Ottawa General Hospital on April 25, 2013. Predeceased by his beloved wife Marion (2007). He was lovingly known as DOD (Dear Old Dad) to his daughters, Susan, Jennifer (Brendan), Valerie and was affectionately known as Pops to his eight grandchildren. Born in England, he was a trumpet player with the military, including the Irish Guards Band. He immigrated to Canada in 1953 and highlights of his long music career included the Canadian Armed Forces Band, the Stratford Festival Orchestra, a founding member of the National Arts Centre Orchestra and a trumpet professor at Ottawa and Queen’s Universities. He remained a mentor Paul Baker, who was an important part of the Ottawa to many former students until his death. He was music scene and a friend to many of us, passed away a cycling enthusiast with the Ottawa Bicycle Club on Sunday May 12 after a brief illness. Paul, with his and co-founder with his wife, Marion, of the Rideau singer/actress wife, Holly Larocque, created the touring Lakes Cycle Tour. A truly gentle person but with show “The Big Band Broadcast Starring Holly Larocque strong values, his motto was “Be good – Do good”. and the Mark Ferguson Orchestra.” Paul played the part An open-minded, generous man, young at heart to of the announcer in the show and worked tirelessly as his last breath. He was forever curious and left this the show’s business manager. He accomplished the for- world ready for his next adventure. Thanks to Dr. midable achievement of touring a 15-piece big band to Gupta, Dr. Karovitch and the nurses at the Ottawa theatres across much of the United States and Canada. General for their care and compassion. A service Paul will be sorely missed. was held at 11:00 am on Thursday, May 2, at St. A memorial service for Paul will be held at Ottawa Little Matthias Church. In lieu of flowers, the family is es- Theatre, 400 King Edward Avenue, Ottawa, at 12 noon tablishing a scholarship for a music student at the on June 8. University of Ottawa. Details to follow shortly.

eNews Harp June 2013 page 21 of 25 RECORDINGS darthurART Do you have a new recording to promote? Make sure you let us know so we can include it in the next eHarp News! Paul Blissett Luna Luna is my third album in what appears to be a journey to record some of those popular songs and instrumentals of those earlier years as well as a few of my original songs. The tracks range from the classic sounds of country music, the intensity and rhythm of rock and roll, the swing of jazz and the essence of the blues. I am pleased that many of the musicians on the album are members of our local 180, the Musicians’ Association of Ottawa/ Gatineau. Album Musicians: Paul Blissett: Guitars Randy Demmon: Piano/Keyboards Ken Kanwisher: Bass Sandy Wilson, Mike Belanger: Rhythm Guitar Steve Foley: Acoustic Guitar Mike Tremblay, Zeek Gross: Saxophones Don Paterson: Trumpet “Loading in at the Rainbow John Steele: Steel Guitar/Banjo Louis Schryer: Fiddle — with a Hammond B3”

Randall Prescott: Harmonica © Dave Arthur 2013 Jeff Asselin, Mike McNeil: Drums/Percussion “Like a lot of you, I have had the privilege of hand-hoisting the mega-tonnage Recorded at: Audio Valley Recording Studio: Recording/Mixing Engineer Steve Foley. B3 up many different stairways, along with of course, one or two Leslies and Mastered at: Conduction Mastering: Mastering all the other band stuff. This whole event was usually preceded by someone Engineer: Jason Fee. groaning flatly, “Oh no... stairs”. Regardless of how many steps there actually were, they always looked like this at first to us, from the foot of them.” DA For more information, please visit www.paulblissett.com eNews Harp June 2013 page 22 of 25 LOCAL 180

Dear Sisters and Brothers of AFM Local 180

Local 180 member Richard Moxley, from the last photo day I, Chase Robinson, and my colleague, Casandra Robinson, are your dedicated AIL Public Relations Representatives working in cooperation with the Musicians’ Association of Ottawa-Gatineau. You will be receiving a letter from your local in September re- Local 180 Photo Day garding your NO-COST $3,000 AD&D Benefit. All members and The photo day held this spring was very suc- retirees who return the card will receive an option to increase cessful. A large group of musicians took ad- the coverage an additional $10,000.00 for $2.00 the first year. vantage of the Local 180 initiative. Please note: To qualify for the $10,000 of additional ADB cover- age, an AIL representative must visit you, obtain an enrolment Please note that we will hold another photo form and collect premium for the first year. You may renew day in the fall. Many thanks to Dave Poulin for thereafter for $5.00. If you have any questions whatsoever, making you all look beautiful. please do not hesitate to call me at 613-808-6260, or Casandra at 613-301-2988 or our toll free number at 877-366-3349. If you require service in French, please call 888-252-9392. In Solidarity,

AIL Public Relations Casandra and Chase Robinson. CEPChase Local Robinson247

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