That verve is present throughout his new album, titled “Here”: it’s a full-throated celebration of existence, floating on Nast’s message of how truly extraordinary it is to be alive. Along with the ultimate goal of navigating his listeners to reflect upon that sentiment, his entirely instrumental 12-track album allows for each individual to “absorb the sound and the mood, which causes them to think their own thoughts,” Nast told Bytown Sound in a recent interview.

“These thoughts are the lyrics to my songs.” 

The music speaks to a lifetime of immersion in song: having grown up on Vancouver Island, Tim’s entry into learning and playing piano was imposed from the early age of 6 by his mother, who taught him and all of his siblings to play. By the age of 14, Tim was allowed to choose for himself whether or not to continue on with the piano, and decided to take a step back. It was only a year before the lure of music was too strong and he returned full force, playing and composing incessantly.

“While other teenage boys were chasing girls, I was chasing melodic lines and composing endlessly on the piano, learning how notes curl into others, and chords set the framework,” said Nast. “I was surrounded by melody, even in my dreams. One morning, I woke with a full song composed in my head and I immediately headed to the piano where I played it in full. I recall my mother asking me where I had learned the new song and I told her I had dreamt it.”

A similar approach to songwriting has continued through his musical career. While it may seem somewhat unconventional to some, he describes it as mostly improvisational and “enter[ing] the piano as if it is an ocean and I am going for a swim.”

“Often I can just tell I have something inside me that needs to come out,”  he said. “A melody or a feeling that needs to be birthed…these are my favourite times to sit at the piano. Almost always something magical happens.” 

As many lifelong musicians do, Nast took a mid-career break from music to concentrate on raising his family. Time away can often change how one relates to music and the songwriting process, and when he returned to composition, he noticed a change in his creative process, as well as his relationship to music and sound.

“Now I let the music come to me. It’s a much gentler approach now, which I think is because I am older and, through the years, have gained a better understanding of myself,” said Nast. “I am no longer trying to compose, I am simply composing. I listen for the music, rather than trying to create it. It’s a lot like being very still in the ocean and letting the fish swim close.”

It’s a process he tries to encourage in his listeners as well. When live in concert, Tim actively tries to guide the crowd to authentically be in the moment, urging them to slow down and cherish the uniqueness of the space and place through sound. It’s a journey listeners have been willing to go along with, as one recent concert-goer even described Tim’s live performance as a “spiritual experience”.

“My goal with each concert is to share my music and help everyone forget about everything outside of the room and simply be in the moment,” said Nast. “It’s a beautiful experience.”

Now that he’s back in the water, expect a whole lot of music to emerge from Nast in 2020. He anticipates releasing two to three albums of original material, and will be doing so primarily through his website and online streaming platforms. He will also be focusing his live performances in the Ottawa-Montreal-Toronto triangle, along with a few shows in smaller nearby towns.

Tim’s final show of his 12-date tour in the Ottawa region is happening this coming Saturday, November 16 at Westminster Presbyterian Church in Smiths Falls, doors at 7pm. You can still purchase tickets via Tim’s website here: https://www.timnast.com/tour.

Keep an eye out for Tim in 2020 – which you can do so via his Facebook, Twitter, Instagram, and of course, his website.

The post Back in Familiar Waters: Tim Nast’s Return to the Ottawa Music Scene appeared first on Bytown Sound.

Boasting a diversity of flexible multi-instrumental talent, this Kingston, Ontario-based crew came to town on the heels of the recent release of Sociable!, a spirited collection of original tunes and reimaginings of traditional Celtic and East Coast favourites. If you have a taste for Celtic music with hints of pop, rock, and country, it’s impossible not to love The Celtic Kitchen Party, whose new songs are every bit as memorable as their back catalogue. 

This boisterously good-time band began coalescing nearly nine years ago through networks built around the Kingston Irish Folk Club and Renaissance Music (now Long & McQuade Kingston), and includes Andrew Vanhorn (guitar, vocals), Colin Skinner (tin whistle, bagpipes, background vocals, bvox), Ted Chew (fiddle, bvox), Scott Jackson (bass, bvox), and Nathan Crockett (drums, percussion). 

Combined, the group delivers a wide range of emotions, with Sociable! running the gamut from straight-up party tunes like “Drank Too God-Damned Much” to sillier tunes such as “Twice as Happy Birthday Song,” to the more serious narrative in “A Lullabye [For Those Who Died]”. This makes checking out the band a true experience, and while the kitchen camaraderie might seem the obvious inspiration for the album title, Vanhorn said its origins lay elsewhere — and may sound familiar to Western Canadian football fans.

“The story behind the title is a suggestion from fans through a contest which we ran on Facebook,” said Vanhorn. “And once suggested it became quite clear: ‘Sociable!’ Is something we shout out at every show and which we have been doing for seven years now. Essentially, it’s a ‘cheers’, raise your glasses, shout out and drink!  We’re not the only ones doing it: it was refreshing to see CFL’s Spirit of Edmonton doing the exact same cheer from across our country, and they even named their mascot ‘Sociable’.” 

The Celtic Kitchen Party’s collective skill and adaptability results in an incredibly versatile band that can easily flow between the upbeat, party band vibe they’re known for, to the more subdued, dulcet mood required for some performances. This has allowed the band to cover virtually any kind of gig as they’ve been able to provide a more classic approach to modern pop tunes for weddings and cocktail hours — what Vanhorn calls “the tamer, more mellow shows” — but still being able to read the crowd at regular shows to deliver the tempo and flavor of songs they may want to hear. 

At the end of the day, Celtic Kitchen Party is proud to embody the sensibility of the folk and  Irish/East Coast music that they’re known for, according to Vanhorn. Engaging with the audience with music that’s laden with storytelling, energy and humour helps them get to a place of complete distraction.

This love of a good drink and a good time has helped to elevate The Celtic Kitchen Party, and earned them a reputation of being true to their name. When band member Ted Chew pointed out at one point that the group was getting to be known as a party band, Andrew had but one thing to say: “Good.”

Their sheer talent and focus has led the group to play some interesting places and events around the country, including the Perth Kilt Run, many Canadian Air Force Bases, and has also helped them to share the stage with legends like The Mudmen and The Mahones. 

There’s been no end of memorable shows, according to Vanhorn, including a Humane Society fundraiser in Iqaluit. This was an intense experience, requiring 4,548 km of travel with a 24-hour musical layover, laden with “lung-crushing, beard-frosting, face-freezing” climb marked by “crisp, face-tightening -52” weather and “squeaky-fingers-on-chalkboard, chewing-on-Styrofoam-crunching” footsteps through the snow. Luckily, fans who weren’t able to make it can still tap into the performance by checking out “Live in Iqaluit” at CD Baby or iTunes.

The band has also played an East Coast party for Grey Cup celebrations in Ottawa in 2017, hosted by the Atlantic Schooners, marking another event to remember. 

“We also did an early show with Spirit of Edmonton, who were well into the ‘sluice juice’ by the time we did an energetic 45-minute show at 11 a.m.  Because the prices of hotel rooms were close to $400-$600 per room we opted to stay a bit away from downtown and I was lucky to have booked all six of us into one room at the Ottawa Jail Hostel.  That alone was crazy, thank goodness nobody snored horribly. But what a neat place. And also inspired a song aptly titled the ‘Ottawa Jail Song’ which will be a Song of the Month in the upcoming year.”

What’s a Song of the Month, you ask? Supporters of The Celtic Kitchen Party can be part of the Song of the Month Club, getting advanced access to a brand new single, with each one later being fodder for their next album. Sociable! was the first album the group has launched using this system, putting it to the public in November 2018. Patrons  [https://squareup.com/store/celtickitchenparty/] also receive more than music as they support the creative efforts of this talented group,  receiving other perks like complimentary tickets, t-shirt designs, a physical CD disc and digital copies. 

This creative approach is gaining traction and helping to build a foundation for their creative efforts, while offering fans new material on a regular basis. In fact, Celtic Kitchen Party is hoping to continue the trend, with an eye on releasing additional albums in November 2020 and November 2021

“I think the crowdfunding much like we’re doing with Song of the Month is one way people can support the writing of new material,” said Vanhorn. “If you love the music, move away from the streaming like Spotify for a moment and support any live shows or merch from the artist. And outright purchase their music either physical or digitally.”

To keep up with what the Celtic Kitchen Party is up to, follow them on Facebook, Instagram, and Twitter. Purchase their new album and become a patron for the Song of the Month Club here [https://squareup.com/store/celtickitchenparty/].  You can also catch them live at the upcoming Light Up The Night Santa Claus Parade in Prescott on Nov. 15 at 7pm, as well as CC’s on the Rideau again on April 18, 2020 at 8pm. Mark your calendars!

The post The Celtic Kitchen Party Bakes A Fresh Batch Of New Tunes appeared first on Bytown Sound.

Our friends at the Ottawa Singer-Songwriter Camp still have spots available for anyone from 15-115 to learn and develop their singer-song writer skills!

The camp is offering one week that will focus on creativity (CREATE CAMP July 15-19) and another on collaboration (COLLABORATE CAMP July 22-26). Sign up for one or for both. The information is below:

Directed by Elise Letourneau and Megan Jerome.
With guest instructors Lynn Miles, Shelley Posen, Al Tambay, and Ian Tamblyn at Alcorn Music Studios and GigSpace.

Give voice to the songs that are already inside of you, in a positive environment, with like-minded creative spirits. Revel in the luxury of a quiet songwriting space, just for you and your ideas. Enjoy daily opportunities to perform and receive valuable feedback on your singing and playing, lyric and music writing, and stage presence.

Your songwriting sherpas will guide you through the landscape that all performer-songwriters need to navigate, including finding your muse, pulling a song together, and performing it effectively. Through hands-on creative activity and lively brainstorming sessions, you’ll gain useful insights into establishing and sustaining your songwriting routine.

In CREATE (with Megan, Elise, Lynn, and Ian), you will befriend your artistic self and learn to nurture your inspiration’s wellspring. You’ll finish the week with at least one brand new song, and the chance to perform it after plenty of coaching and encouragement from seasoned performer-songwriters, who will help you identify and draw upon your strengths. Whether you are working on your first song or you are a pre-professional singer-songwriter, your creative spark will ignite in this supportive environment.

In COLLABORATE (with Elise, Megan, Lynn, Al, and Shelley), working in duos with another participant (or sign up with a friend!) you’ll perform a 3-song showcase set. Throughout the week you’ll rehearse together on an original song you each bring to share, and you’ll write a new song together as a songwriting team. You’ll learn more about chords, song forms and arranging, and accompanying yourself on your instrument and joining in with others. And you’ll get lots of immediate feedback and tips from our instructors to guide you forward in your songwriting practice.

We supply: music paper, music folder, overnight instrument lock up, piano, t-shirt, inspiration, and creative space.

What to bring: your instrument(s) other than piano, your lunch (or signed permission to leave the premises and purchase lunch nearby), snacks, refillable water bottle, towel or yoga mat, notebook, pencil & eraser, your creative mind!

For teens and adults age 15-115.

Enrollment is limited to 10 participants for CREATE, and 14 participants for COLLABORATE.

Music camp begins at 9 AM and ends each day at 4 PM, except for the Friday which closes with an evening concert at Vimy Brewery where we will present our material. Be sure to invite your family and friends! Concert begins at 7 PM at Vimy Brewery, 1-145 Loretta Avenue North (just behind the Alcorn Music Studios building) http://www.vimybrewing.ca/

Cell phone use and texting by campers is strongly discouraged during teaching hours.

Ottawa Singer-Songwriter Camp is a scent-free environment.

Register with payment in full by Friday July 12, or until camp fills, whichever occurs first. Payment is due at time of registration. Payment is non-refundable.

Click here for registration form

Fee:
Now – thru May 31 – $500
Later – June 1 until full – $550 (no t-shirt after June 21)

Payment Options:
Cheques payable to: Alcorn Music Studios.
Credit payments are accepted by phone.
Credit/debit/cheque/cash are accepted in-house.
E-transfer to [email protected]

Register soon!
Camps have limited space.
Early bird pricing until May 31.

For more information visit the website:
http://www.alcornmusicstudios.com/ottawa-singer-songwriter-camp/

The post Ottawa Singer-Songwriter Camp July 2019 appeared first on Bytown Sound.

Kelly has graced the stages of Bluesfest, CityFolk (Marvest), Festival of Small Halls, Stewart Park Festival, Bar Robo, Rainbow Bistro, Atomic Rooster, Babylon Nightclub, just to name a few. Usually accompanying herself with guitar or piano, Kelly also often shares the stage with her band members Jacob Milnes (guitar) and Luan Mizerski (drums).

Further demonstrating her increasing prominence in Ottawa’s music community, Kelly sold out both of the release shows held in February at the Blacksheep Inn in Wakefield for her latest EP, Cardboard Box — an incredibly strong release for this burgeoning artist. The four track album is a delightfully cohesive piece of work: each track flowing into one another, building in complexity from one song to the next. The arrangements are studied architectures that guide the listener through the album, while her songwriting style borrows from traditional genres and is propelled by her elemental vocal talent.

Cardboard Box starts off with a “All Eyes on Us,” a self-assured track with an accelerated beat and striking vocals. Beginning with a full drum kit and Kelly’s voice, the song is a modern nod to the gospel genre. The track then quickly opens up into a foot stomping bombast with full band compliment. This propulsive tune features lots of percussion accoutrements and brass bellows, all while Kelly’s authoritative vocal performance really drive the song. This is a great introduction to the album and confronts the audience with Kelly’s talent.

The next track, “Cardboard Box,”  features beautifully pared down solo acoustic guitar and voice that slowly builds layers of harmonies and distant chordal purrs. It is a charming example of Kelly’s knack for catchy melodies, conceptual songwriting-style, and establishes that she doesn’t need all the bells and whistles to enhance her performance and natural talent. The final two songs on the album build on this core track to show what she can accomplish with even more.

“Dépaysée,” comes full circle to the acoustic and voice base of the opening track, but takes on distinctly different character. The song is soulful and melancholic, using up all the space on the track, taking its time to be expressive, but is by no means slow. It carries a muted intensity that is borne with great effect.

The final track, “Blood in the Water,” is a distinctly blues driven and features brass and piano, all while Kelly’s enthralling and lucid vocals make it impossible to imagine anyone else performing the tune. The song is an example of this artist’s seasoned songwriting style, it taps into something deeper, older, and rooted.

Mia Kelly continuously proves that her age is anything but novelty: she sings and writes songs beyond her years, injecting her performances with the wizened hopefulness that comes to those who tapped into the depths of musical expression that runs through the ages. The album as a whole is an incredibly strong piece of work that cements Mia Kelly as one of Ottawa’s commanding musical talents.

Kelly will be opening for Oh Susanna at MERA Schoolhouse at McDonald’s Corners on Sunday, April 14 at 2 pm. Next, she will be performing on Friday, May 3 at a fundraiser for La maison Mathieu Froment-Savoie.  Also, if you’re around later in the summer Kelly will be playing at Propulsion Scene on Saturday, August 10. Stay connected to her website, Facebook, and Twitter, as there are sure to be new shows popping up in the coming months.

The post Artist Spotlight: Mia Kelly appeared first on Bytown Sound.

One thing has been proven time and again over the last 20 years: White Cowbell Oklahoma knows how to bring the party. And while the band may have toned it down some over the years, that doesn’t mean that their stage show isn’t still the craziest in Canada. And yes, there is indeed a cowbell, and a lot more besides.

White Cowbell Oklahoma (WCO) did not disappoint Ottawans on February 8 at Maverick’s, bringing their hard party and creative entertainment tactics to an audience that knew exactly what they were in for. At times flanked by two scantily clad burlesque dancers, and at others releasing flames into the air, the band’s Friday night spectacle was exactly what fans of WCO have come to expect and came out to experience.

This Southern-fried rock band which rocked the Maverick’s stage is a far cry from its debut in June of 1999 at Club 360 (a now-defunct venue just steps away from the legendary Horseshoe Tavern) in their home city of Toronto, having been whittled down from a staggering 13-17 members to a now comfortable five- (occasionally up to seven-) piece. Members present for the show at Maverick’s included Clem C. Clemsen (vocals, guitar), South Pawl Jones (bass, vocals), Curtis E. Flush (guitar), Betty Bullwhip (drums) and Charlie Chainsaw (power tools, percussion).

Gone is the once-giant melee of members sharing the stage with countless dancers, replaced with a streamlined stage lineup, resulting in a much tighter and controlled chaos. This is in stark contrast to the sheer madness of earlier years, when nothing was too excessive, too outrageous, or too scandalous. The fact that this new version is this good just goes to prove the old adage that sometimes, less truly is more.

Charlie Chainsaw served as master of ceremonies, regaling the audience with wooly tales of travelling through the American south. He acted almost as the personification of the band itself: drawling, reckless, and hard partying. Charlie led the audience’s march into a night of no consequences, a sort of bacchanalian revelry. Did we mention there was a chainsaw involved?

During one of the songs, while Charlie Chainsaw played the cowbell, he turned to pick up another item that at the time was hard to make out but soon became abundantly clear. Moments later, sparks begin flying upward toward the ceiling before raining onto the band in a wholly fantastic display of light, as Charlie took an angle grinder to his trusty cowbell. Soon after, he hopped down off stage into the audience with what turned out to be a flamethrower, spitting flames in time with the song with a healthy dose of actual heat. The showmanship of this band is radically unmatched.

Closer to the end of the show, Charlie briefly exited the stage. Moments later, as the smell of gasoline filling the air and after a brief struggle in getting it started, a fully operating chainsaw materialized in his hands in conjunction with a triumphant swagger.

Two volunteers then emerged from backstage, holding a 10-foot wooden pole with two industrial-sized rolls of toilet paper strategically placed in the middle. Charlie, demonstrating his confident, steady hands with the chainsaw that only comes with years of practice, takes it to the toilet paper, unleashing a constant flood of white streamers onto the audience. It’s a carnival of chaos, with the crowd meeting the insane energy flowing forth from the stage, as members of the audience gather up the giant mound of freshly shredded toilet paper, and throw it over their shoulders like a cape.

Besides the antics that the band gets up to on stage, this well seasoned ensemble is clearly adept at writing, performing the rock genre, adding a healthy dose of blues and country. Songs like “Cheerleader” and the latest single “Into the Sun” (video found here), as well as the old fan favourite “Put the South In Your Mouth” showcased the entire band’s technical skill and onstage dynamic. In this live show, WCO brought lots of vocal harmonies, an unrelenting rhythm section, and solo trading, giving each member room to display their virtuosity. Though the band has had many musicians come and go over the years, this particular lineup is as solid as they come.

Anyone who attends a White Cowbell Oklahoma concert will be blown away not only by the theatrical feats in their live show, but also by the band’s skillful embodiment of deep fried rock: their musicality is off the charts. WCO tours throughout the year, so keep tabs on when they’ll be coming to bless a “holy temple of rock and roll” near you on their website. Find them, follow them, and be sure not to miss another live show.

www.facebook.com/WhiteCowbellOklahoma
www.instagram.com/whitecowbell
www.twitter.com/whitecowbell
www.whitecowbell.com

The post Show Review: White Cowbell Oklahoma @ Mavericks — Feb 8/19 appeared first on Bytown Sound.

If you could use a bit of a break from all the standard holiday tunes but still want something grand and magical, the Ottawa Pops Orchestra have created an incredible aural experience for all ages with their upcoming concert, “The Music of Star Wars”. Even if you’ve never seen the movies, you’ve likely heard a theme or two, given how large the films loom in pop culture; indeed, the beauty of a concert showcasing this music is that the films and music are adored by all generations. This is the perfect opportunity to familiarize yourself with the films with a family Star Wars movie marathon over the holidays, followed by one of these concerts.. These shows run from Friday, December 21 to Sunday, December 23, and best of all, the tickets start at only $25.75, a reasonable cost for an extraordinary event.

The Ottawa Pops Orchestra (OPO) is the newest orchestral ensemble in Ottawa’s classical music scene. Founded in 2017, OPO is trying to shift the experience of the concert hall from something inaccessible and stuffy to a fresh and exciting option for a night out. Their programs feature music that you’ve probably heard of before, often including scores from beloved films and classical favourites. Earlier this year, the OPO sold out their concert series featuring the music of the Harry Potter films, and it looks like they might do it again with their upcoming concert dates for “The Music of Star Wars.”

The OPO is focused on appealing to younger audiences and fostering a sense of community around classical music. Led by their principal conductor Jonathan Dagenais, the community orchestra has been working tirelessly to reach out and appeal to a younger audience/generation by combining classical orchestra with popular music, and encouraging Ottawans to bring the whole family to enjoy orchestral music.

In addition to providing a family friendly concert hall environment and programming, the orchestra also engages in educational initiatives. They’ve opened up their dress rehearsals, performing a condensed version of upcoming concerts, to students from grade 5 to grade 12. The OPO will also be expanding their educational initiatives in 2019, the organization is passionate about getting young people excited about orchestral music.

We were fortunate enough to interview some of the board members and the conductor for the Ottawa Pops Orchestra. Each interviewee conveyed their dedication to making their concerts as inviting as possible. Their love for the orchestral genre and sharing that passion with newcomers to the concert hall, both old and young, is an incredibly welcome addition to Ottawa’s music community. Vive l’orchestre!

Why did you choose to feature the music of Star Wars this season? Why do you think this music resonates with audiences?
Mathieu Roy, Artistic and Executive Director

For me, John Williams is film music and part of the reason why I am so passionate about orchestral pops repertoire. And after the success that was Harry’s Musical World in the spring, we thought it would be a good idea to create another concert with such a huge following. It was also important for us to program music that could connect with a wide audience even if they have never heard of Star Wars. Williams’ themes are so ingrained in today’s pop culture that you would be hard pressed to find someone that could not at least hum the Imperial march or Hedwig’s theme. The majority of our audience will be experiencing a live symphony orchestra for the first time and so it is important to present material that they can identify with and have been previously exposed to.

Many believe that the symphony is boring and for old people, when in reality it is anything but! Back in the day, in the time of Mozart and Beethoven, there weren’t any movie theatres to go to on a Friday night! The common form of entertainment was the opera house, which was their primary source of entertainment and for social gatherings. Fast forward 200-odd years, and we find that the symphonies of today exist in the realm of the cinema. Sure, the way they are presented is different, but the reason for their existence is essentially the same. In a film, it’s easy to forget that there was a full symphony orchestra recording the music in real time while the conductor is watching the movie! But wouldn’t the experience be different if there wasn’t such a lush score accompanying the images? We want to bring this music to the forefront and have audiences feel the emotions being conveyed by the score. Those that have seen the films will have the added bonus of seeing it in their minds as the soaring melodies bring back fond memories.

How did you select which Star Wars pieces to perform, considering there are so many scores that span the series of films?
Jonathan Dagenais, Principal Pops Conductor

(translated from French by Alexandre Bigeau)

Of course, my main objective was to explore the most impressive and magnificent themes of this great saga, all while covering as many films as possible. Therefore, the concert will showcase the amazing classics and create an unwavering sense of nostalgia that the fans will adore, but we will also explore some of the lesser-known themes (e.g. Rogue One by Michael Giacchino).

Were there any songs selected that presented some interesting challenges or opportunities?
Jonathan Dagenais, Principal Pops Conductor

(translated from French by Alexandre Bigeau)

Yes, many pieces that support intense action scenes (battles in space or on land, galactic chases, etc.) are more difficult to execute (Here They Come or Asteroid Field come to mind) and uncover several performance challenges for the ensemble when it comes to precision and timing. The OPO is facing these challenges brilliantly and with enthusiasm by listening to each other collectively and embracing teamwork.

Are the same selections played for each of the three concerts? Is there an overall story or plot progression to the concert?
Mathieu Roy, Artistic and Executive Director

The same selections will be played for all three concerts.

Over the course of the films, over 18 hours of musical material was composed, which posed quite a challenge in the selection of the music that is to be performed. I essentially had to choose just 70 minutes out of all the music available. This could have been presented in many ways: following the film release date, chronological order etc. Ultimately, the choice was made to not necessarily follow the correct film order (whatever that might be!), but to use some of the most iconic and unforgettable musical moments to build a narrative. Every concert should have a flow with proper ups and downs, and since there are no images to accompany this performance, I was able to stitch together selections from every film, completely ignoring the order and connecting themes that fit well together and made sense — essentially creating an overview of the Star Wars franchise. This concert will take you on an emotional journey and leave you utterly satisfied, no matter your age or planet of origin.

What can audiences expect from Ottawa Pop Orchestra’s Star Wars concerts?
Jonathan Dagenais, Principal Pops Conductor

(translated from French by Alexandre Bigeau)

An emotional evening with colourful sounds mixed with the joy and nostalgia of experiencing these magnificent musical frescoes in concert. We wish to create a tremendous musical voyage and relive the impacts of this ground-breaking science fiction epic. It will all take place in a friendly, accessible and dynamic environment fostered by the Ottawa Pops Orchestra!

Can you tell us about the musical direction of the orchestra and its mission or goal?
Mathieu Roy

The Ottawa Pops Orchestra aims to foster the next generation of musicians, redefine the orchestral experience, and create a sense of community in the Ottawa-Gatineau Region. This means that we are reaching out to the under-35 demographic and are trying to show them how great orchestral music can be, that it is still relevant, and a very important source of entertainment. We want to change the stigma of the ‘’classical orchestra hall’’ where you are dressed to the nines, and phones are turned off, and that orchestral music is for the elite and privileged. You want to come to the show in a comfortable onesie, or dressed up in a stormtrooper outfit? Go ahead! We want you to enjoy your experience however you want. The music that we program is designed to be accessible to the general public and a gateway to the wider orchestral music world. We will continue to program lighter classical favorites, with some tunes that almost anyone can recognize and eventually venture into some more advanced selections, but we want anyone to be able to come to the show no matter their previous knowledge, and leave having enjoyed themselves and possibly learned something new.

What is the composition of the orchestra: how many members, community-based or professional? Can you tell us a little bit about your conductor?
Mathieu Roy

The orchestra for this concert is made up of 65 musicians. Depending on the program, this number might range from 55-75. The orchestra’s core is composed of young professionals, university graduates that have or are currently studying musical performance, many of which might very well continue on to become well respected musicians. The rest is made up of very talented community players that range in age and walks of life.

Jonathan Dagenais, our Principal Pops Conductor, is an established Montreal conductor and composer. His love of the franchise is second to none, and I could not think of a more perfect match for this ensemble.

Jonathan’s Bio:

Jonathan Dagenais holds a master’s degree in Conducting from McGill University and a bachelor’s degree in Composition from the Université de Montréal. Formerly conducting the McGill Wind Orchestra and the Montreal Pop Symphony Orchestra, he currently conducts for Cercle Philharmonique de Saint-Jean-sur-Richelieu, Orchestre à Vents Non Identifié (OVNI), and Orchestre de jeux vidéo – OJV (Montreal Video Game Orchestra – an ensemble dedicated to video game soundtracks). Being a long-time fan of video games and their music, this was a natural marriage of his two passions.

Finally, for the year 2018-2019, he was appointed guest conductor for the Ottawa Pops Orchestra. Additionally, he has been the artistic director of Quebec MusicFest since 2017 and was appointed the conductor of the National Youth Band of Canada (NYB) for the 2013 edition. He is also the appointed conductor/clinician /educator for the company Twigg Musique in Quebec and a Yamaha Canada Master Educational Artist.

What can you tell us about your educational initiatives?
Lindsay Allen, Artistic Administrator

We believe that gaining performance experience should be widely available, regardless of financial background. In 2018, we initiated the Orchestral Development Bursary, which is a monetary award presented to outstanding musicians in the orchestra under the age of 30 as they gain the orchestral experience to help them in their musical careers.

We also began opening our dress rehearsals to students between grade 5 to grade 12 in the Ottawa-Gatineau area. The Student Matinees are a 1 hour condensed program that is performed to local schools during the orchestra’s dress rehearsal, and is an opportunity to showcase the musical arts in the community to students who are just beginning to fully explore the arts in school. We also believe in fostering the next generation of musicians and music appreciators and that this starts early on in the classroom! As of 2019, we hope to expand our educational endeavors directly into the classroom offering concerts and workshops for students of all ages. The majority of our musicians are fairly young and from experience, we see that youth identify well with people closer to their age group. If a high school student who is considering a career in music — be it as a performer, music management, music therapist, writer etc. — but are afraid to pursue it, seeing others succeeding could help them make a decision.

What should we expect from the Ottawa Pops Orchestra in 2019 and beyond?
Mathieu Roy, Artistic and Executive Director

As far as the program goes, I can’t say too much because we have yet to confirm anything, but I can definitely say that you can expect more movie soundtracks. We also don’t want to limit ourselves to one genre while also continuing to push what it means to be a pops orchestra. This might mean combining Star Trek with Gustav Holst’s The Planets; merging film music and 20th century classical music in an outer space musical expedition; or taking a trip to the Big White Way with guest vocalists for some Broadway blockbuster. I am also very interested in combining more than one artform, as it would be really neat to integrate visual art, dance and theatre into the orchestral performance.

We are still a very new organization and in the process of truly establishing ourselves in the Ottawa-Gatineau community. We are currently applying to obtain registered charity status which will allow us to establish the Ottawa Pops Foundation, and in turn permit us to achieve our goal much faster and secure other sources of funding. We want to collaborate with local artists and organizations and start a conversation surrounding music and art in general. We are appealing to a market that is looking for new experiences, and that is what we hope to achieve.

Felicia Persaud, President of the Board of Directors and Librarian

You can expect a lot from us in 2019 and beyond. We concentrate on three main ideas: the audience, the musician, and the future musician. You can expect the organization’s continued commitment to redefining the orchestral experience through unique programming and concert experience. We will help support the upcoming generation of orchestral musicians in various engagements that will help them grow and mature as an artist. Finally, we hope to increase our presence in education and continue student matinees and open dress rehearsals to keep arts in schools alive; without new musicians, where will we be in 20 years?

The Ottawa Pops Orchestra will be playing three shows of “The Music of Star Wars” at Meridian Theatres at Centrepointe: on Friday, December 21 at 7:30 p.m., the following night on December 22 at 7:30 p.m., and the final show on Sunday, December 23 at 2:30 p.m. Secure your tickets here

You can find more information about the show, as well as the concert program here: https://ottawapopsorchestra.ca/StarWars.html.

A special thank you to the Ottawa Pops Orchestra, and especially to Manager of Marketing and External Affairs Alana Fediurek for facilitating this interview.

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If you’re looking to see this splendor for yourself – and I suggest that you do – you’ll have that opportunity on Saturday, Dec. 8, when Jumpin’ Joel Flash and the Magic Machine will be releasing their new EP at Makerspace North (250 City Centre Ave – # 216) at 7 pm. To celebrate the occasion, they’re hosting their very own prom, so wax nostalgic and enter your very own John Hughes movie for this shindig! Wear your fanciest dress, your danciest dancing shoes, and make the most of this super special night. According to Joel, this will TRULY be an event, with a festival atmosphere, multiple stages, a photo booth, vendor tables, video projection, installation art, and even a Prom Royalty contest. If that wasn’t enough, the release show will also feature guests Scary Bear Soundtrack, Capital Tease Burlesque, and The Ghost Lights.

You can get acquainted with the band’s music during the lead up to their prom-themed album release show. Since October 1, Jumpin’ Joel and the Magic Machine have been releasing one single from the album every two weeks. The two singles, “Eleanor” and “You Still Got Me,” are  available to stream and purchase right now. Expect the next release to be out this Monday, October 29.

“I want folks to enjoy the tracks and take them in on their own, then see how well all the songs get along when they’re all together!” said Joel. “Like a great bunch of friends at a party!”

To learn more, we were privileged to speak with Jumpin’ Joel Flash about this upcoming album release, the band, and his journey to the Magic Machine.

Though he had been playing music since high school, the allure of a steady paycheck beckoned him to the cubicle, and as such, Flash spent years in Ottawa’s major industry – government-related work.

“I worked for an economic think-tank for a decade. It was just as boring as it sounds. I mean, informative, sure, but boring.” Joel said, “Rocking on the weekends certainly helped break that up. Cubes and spreadsheets to ensure as much time as possible for tunes.”

However, all that changed once Brett Kelly invited him to write the score for the theatrical Phantom of the Opry.

“The rigorous schedule for theatre production means you’re surrounded by creatives 3 or 4 times a week. It had a profoundly positive effect on me. After many smiles and unending support from my wife Kim, I decided to quit my job to focus on the music. That was in March of 2017.”

Since then, Joel says he’s been thinking far less about economics and more about art.

“Corporate Joel still hangs around sometimes though. He makes sure meetings start on time and are run efficiently.“

Now serving as the band’s fearless leader, Jumpin’ Joel Flash describes the Magic Machine as, “a potpourri of creative minds, lovingly plucked from Ottawa’s music, theatre, and visual art scenes!” Members including Robin Hodge and Zoe Towne (otherwise known as The Ghost Lights), and Jasen Colson joined up after working with Joel at productions like My Fair Zombie (2016) (“which was exactly what it sounds like,” Joel says) and Phantom of the Opry (2017). And Ashley Newall was scooped up by Joel after he saw him perform at a fateful open mic at Live! On Elgin. And serving as visual artist and ukelelist is Joel’s wife, Kim Valentine. This varied group of talent and artistic experiences make this a truly magical musical machine.

Together, they’ve created the first album for Jumpin’ Joel Flash and the Magic Machine, though the core of these songs have been percolating for a long time in Joel’s head. “I wrote most of these songs during my work-filled 20s, on the bus, in my office, on the bus again. I’ve always found it easier to get lost in creativity with the background noise of travel.”

Would these songs sound good when made manifest in the world? The answer, as we see for ourselves, is a resounding yes!

“The biggest trick was finding a bunch of people who could translate those head sounds into actual sounds. And translate we did!” Joel said. “We jammed them over and over and over and over again until we had lines and riffs and beats and everything! Wow!“

Jumpin’ Joel Flash is equally passionate about and active in the local music scene, as he is an advocate for Ottawa’s fantastic artists. When it comes to what can be done to better support our burgeoning music community, Jumpin’ Joel Flash says it best:

“Supporting local artists isn’t just about going to shows and buying merch/albums. It’s also about spreading the word when you catch a groove you can’t lose! Ottawa is an emerging music city, and as such, any win for Ottawa artists is a win for the community. So when I see/hear an artist that has it going on, I’ll send it to a friend. Just think about all the local music we could know about if we all did the same!”

In the words of Jumpin’ Joel Flash, “Local art can’t happen without local love!” With that in mind, give your love to The Magic Machine by keeping up with their releases, sharing this great music, and getting yourself a ticket to the prom-themed album release party.

In fact, there are only 100 tickets available for the album release show, so get them early!  Keep up to date on these new songs and other Jumpin’ Joel Flash and the Magic Machine on Facebook, Instagram, and Twitter.

The post Feature Friday: Jumpin’ Joel Flash and the Magic Machine appeared first on Bytown Sound.

SATURDAY, JUNE 23

Los Gringos

Ontario Stage OLG Series, 7:30pm

Los Gringos are Ottawa jazz legends: they’ve performed at Jazz Fest nearly every year since the band formed in the mid-1990s. You can see them making hips shake around town all year round, playing primarily original jazz tunes inspired by the music of Cuba and Brazil. This nine-piece band includes Mark Ferguson on piano, Peter Beaudoin on drums, René Fortier on congas and percussion, Ken Seeley on bass, Nicholas Dyson on trumpet and flugelhorn, Fred Paci on trumpet and flugelhorn, René Lavoie on saxophone and flute, Mike Tremblay on saxophone and flute, and David Arthur on trombone. One of the best thing about seeing this band live is watching how much fun they have playing together — the feeling is contagious! Not to miss this Friday, June 23.

Website

Jazz Fest profile

FRIDAY, JUNE 29

The Commotions

Top Shelf Main Stage @ Marion Dewar Plaza, 6:30pm

The Commotions are what big band glam is all about: playing original tunes inspired by the great greats of Motown. Bringing funk/soul into the twenty first century with a heavy dose of pop, the eleven-piece band includes a full complement of horns, keys, strings, and percussion, as well as a team of skilled songwriters and two very capable lead vocalists. The Commotions do soul in a big way, and they do it well.

Website

Jazz Fest profile

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