Most contemporary folk singers struggle to find their place within the music’s long traditions. How, where, does one respectfully align (while still leaving a footprint of originality) with Woody, Bob, Neil, Joni, Gordon, and Leonard – let alone with decades and centuries of lineage going back to the Old World.

Nathan Rogers adroitly wrestles with the added burden of family tradition. He is, of course, the son of Canadian folk icon Stan Rogers who died in a tragic 1983 plane fire, leaving a legacy the likes of Barrett’s Privateers and “Canada’s second National Anthem” Northwest Passage. Uncle Garnet Rogers has also built an esteemed career and catalogue.

For Nathan, years of restless youth – including wrestling demons of a different kind in the mixed martial arts ring – gave way to studies in Comparative Religion and eventually the somewhat tentative debut album “True Stories”, issued in 2005 from his adopted home of Winnipeg.

2009’s exponentially more mature, confident and rich experience “The Gauntlet” confirms that Rogers’ decision to ply the family trade was the right one. The path from “son of the father” to “the child is father to the man” begins, hazily but inexorably, to materialize.

The frank interview that follows was taped before a live audience during intermission at a recent Bobcat House Concert in Ottawa. (A lighter “rapid fire” Q&A follows in a separate clip). The live performances are Moving Mountains and The Jewel of Paris, both from “The Gauntlet”.

[Next up for Bobcat House Concerts: Good Lovelies on February 13]

Roch Parisien and Nathan Rogers

Roch Parisien and Nathan Rogers – Rapid Fire Round

[Videography and video editing by Susan Murphy of Jester Creative]

[photo credit: Dan Tappan on Flickr]

When they squeeze the sponge of creativity they release bits of all that have come before them and infuse it with modern sensibilities. Leaving them with tributaries that go back to the field holler, while they paddle down the streams of: Gram Parsons, the Dillards and  the Great Speckled Bird. 

Their live show is filled with high energy country/rock/folk romps through a series of originals mixed with a few well chosen covers. It is easier to often comment on the covers since they can be easily put into context. In this case they played music by: John Prine, Hank Williams and Washboard Hank. Anthems that I have heard several times before and they did credible versions of all these classics. My favorite was an accordion led boogie through Dire Straits “Walk Of Life” a great song played with the joy and passion of young men, which of course they are. The originals were a little harder to get a grasp on. Songs about drinking, partying and loving.

None stood out but none left me wanting to unsurp myself from my chair and bar hop to see what was playing down the street. The band could use a little more work on their stage presence. They came across as a little too inward for such outgoing music.

But all in all it was a show that left me with a smile and a hole in the wallet from staying later than I had intended to. Not a bad thing for a cold winter night.

Irene’s is located at: 885 Bank Street
613 230 4474

Admission is $7, opening act “Tilda”

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Come one and all to the first edition of the Acoustic Afternoon Concert Series, this Saturday, January 9th (4pm) at the Rainbow Bistro.

Presented by Ottawa Tonite contributor and local character, Maxim Cossette. This “pay what you can” series will run every Saturday afternoon from 4pm- 7pm (except the last Saturday of the month) until the end of April. The aim is to bring you the best established and unknown, traditional and contemporary acoustic musicians from the Ottawa area.

Over the next few months, you’ll see Ottawa mainstays like Lefty McRighty and Amanda Rheaume, breakthrough artists like L. Poushinsky and Ken Voita  as well as underground heros and future folk stars like John Aaron Cockburn and Kara Askwith.

So come celebrate the first concert in this bound-to-be-stellar succession of passionate performances and unforgettable moments.

For more information and artists profiles go to  http://acousticafternoon.wordpress.com/

 See you at the party!

-Maxim

So, the people here at Ottawa Tonite asked me to write about how I feel at the moment. Well, “honoured” would be the first word that pops to mind. Indie musicians and songwriters, generally speaking, aren’t rushing to the bank with sack-loads of cash after writing a song or putting out an album, so recognition from fans, press and peers end up being the fuel that often keeps the train rolling down the track. The fact that the award comes from the US is somewhat surprising, but then again, it seems to be a tradition up here in Canada to watch our own get recognized elsewhere before we take notice here. They’re guilty of it in the US as well. When I tour down there, many of the local artists I play with from city-to-city and state-to-state say the same thing.

But I digress. The American Songwriter award comes with more than just recognition. A Martin DX1 guitar and a Shure microphone are being shipped to my address and a shot at recording with some Nashville stars is part of the deal as well! And the lyrics to the song as well as a brief article are in this month’s American Songwriter Magazine, which has a pretty hefty worldwide circulation. But all the materialist elements that go with an award pale in comparison to the  feeling that a songwriter gets just knowing that someone out there is LISTENING – someone other than my faithful beagle!

See the lyrics for “Magnets” here

See John Allaire and the Campistas performing “Magnets” at Cisco Ottawa Bluesfest, July, 2009.

Note: John Allaire will be playing the National Arts Centre 4th Stage with Graham Greer, Amy Campbell and Kyrie Kristmanson on Tuesday, November 3rd as part of the Songwriters’ Assoc. of Canada’s “Bluebird North” series. Tickets are available through Ticketmaster.ca and at the NAC Box Office.

John will have a full band performance with the Campistas (his backing band) on Friday, November 20th at the Elmdale House Tavern. Also on the bill that night will be rockabilly greats from Montreal “Matchless”and the Songwriting Roundabout Singers.

 Sarah Hallman hit the ground running, launching her new album Likely with an effortlessly professional release party. Sarah’s sound is emotionally charged but still cool and collected, and her slick backup band does a solid job of filling in the gaps without overwhelming the lead.

Sarah and lead guitarist Brian Simms have the comraderie of long-time associates, weaving their lines together to the point where it’s difficult to tell one from the other. The rhythm section kept the band tight and focused.

But it’s Sarah’s voice, melody and lyrics that anchor the show.

There’s a weary maturity in her words and music that strikes you the moment she opens her mouth, and despite her natural shyness she has an easy rapport with her audience. The set, about an hour in total length, didn’t overly focus on the new record as the band played songs from her earlier records as well as a few unrecorded selections.

The high quality of material on Likely and new tunes like “Old Country” (not featured on the album) show that she’s got more than a few great records in the pipeline.

The Black Tomato was an appropriate venue for Hallman and her band, but it would be interesting to see what she could do in a bigger room with a larger audience.