“Proposed bylaw change: see after Robin’s message.”


Over the last few months many of us have seen changes in our lives that are challenging both personally and professionally. We are not deaf to the hardships that are happening in our community and we assure you that your union is working hard on your behalf to make your concerns heard by our government. We would like to thank all those musicians who helped the CFM put together a strong case for the government to rethink the restrictions regarding who is eligible for the Canadian Emergency Response Benefit (CERB). Your contributions helped to strengthen Luc Fortin’s (President of Local 406, Quebec) testimony before the Parliamentary Standing Committee on Finances – Friday April 3, 2020.

During this pandemic things are changing daily, and for this reason, Local 180 urges you to check with Canadian Federation website COVID -19 page: http://www.cfmusicians.org/news/covid-19-resources to find out what resources are available.

Some of our members are experiencing difficulties meeting the deadline for the payment of Membership Dues so we have extended that deadline to June 30, 2020. Any member who is late will not be charged late fees, reinstatement fees or any such similar fee normally assessed of members who fail to pay their 2020 dues by the Local’s dues deadline.

Members – please take time to listen to audio file of Luc Fortin’s testimony before the Parliamentary Standing Committee on Finances – Friday April 3, 2020.


President: Francine Schutzman
Vice President: Gary Morton
Secretary-Treasurer: Robin Moir

Executive Board

Lance Elbeck
Mike Mullin
David Renaud
Sean Rice

Delegates to AFM Convention

Francine Schutzman
Robin Moir

President Emeritus

Glenn Robb


Office Staff

Administrative Officers:

Dan Blackwell
Braiden Turner

Office Assistant: Marlene Morton

MPTF Coordinator: Glenn Robb

Website: Dave Poulin


Your officers and editorial staff conscientiously screen all advertising submitted to the eNewsHarp. However, we cannot assume responsibility for product quality or advertising content, nor can your officers be held accountable for misrepresentations between side persons and leader/contractors.

Local 180 publishes the eNewsHarp on-line four times a year. In an election year, we also publish an election issue for members.

President’s Message

Francine Schutzman


Interesting Times

This will be short and less sweet than one would hope for. There is an ironic expression that goes, “May you live in interesting times.” Well, these times are a bit too interesting. You may recall from my last message in the Harp that I was planning to work in the Local office while Braiden Turner was on maternity leave. That didn’t happen, since, at the time of this writing, the office has been closed for more than a month already. We are waiting for the province to allow offices and businesses to re-open, hopefully relatively safely, before we open the Local office. So I continue to work from home, and Robin and Dan continue to carry the brunt of the day-to-day office work from their own homes. And Braiden is able to spend some precious time at her home with her son and new daughter. Did you all see the clip on CTV news with Robin singing to little Hazel and talking about the effects of COVID-19 on the Local?

You are all painfully aware of the economic devastation that this pandemic has wrought for our members who make their living primarily as performers. Yes, there has been some government aid, but I am sure that some of you have fallen through the cracks, and others may still be having a hard time making ends meet. The one bright side to all of this has been the generosity shown by those of our members who have been less affected and who continue to have an income of one sort or another. Our ad hoc emergency relief fund has allowed some of you to put groceries on the table, and for that we are enormously grateful to all of you who have made donations to the fund. THANK YOU!!!

However, it’s not just the economic fallout that has been so hard for musicians. We are performers because we want to share our music with others. We need the feedback that we get from our audiences. I end this message with a word of hope that we will be able to return soon to our concert halls, bars, weddings, retirement homes, church gigs and everyplace else where we bring joy to people through our music.


Rapport de la président

Une époque intéressante

Le présent message sera bref et moins tendre que nous le souhaiterions. Il y a une expression ironique qui dit, « Puissiez-vous vivre à une époque intéressante ». Eh bien, la présente époque s’avère un peu trop intéressante. Vous vous souvenez peut-être qu’à mon dernier message dans le Harp, je prévoyais travailler au bureau de la Section locale pendant le congé de maternité de Braiden Turner. Cela ne s’est pas concrétisé puisqu’au moment de rédiger ces lignes, le bureau est fermé depuis plus d’un mois déjà. Avant d’ouvrir le bureau de la Section locale, nous attendons le feu vert de la province permettant aux bureaux et aux entreprises de reprendre leurs activités, espérons-le, dans un climat relativement sans danger. En conséquence, je continue de travailler de la maison, alors que Robin et Dan se chargent de la majeure partie du travail administratif quotidien à partir de leurs domiciles. Pour sa part, Braiden passe un temps précieux à la maison avec son fils et sa nouvelle fille. Avez-vous vu le clip aux nouvelles de CTV, où Robin chante pour la petite Hazel et parle de l’incidence de la COVID-19 sur la Section locale?

Vous êtes malheureusement conscients de la dévastation économique de la présente pandémie sur nos membres, lesquels gagnent leur vie principalement en tant qu’artistes. Bien sûr, le gouvernement offre de l’aide, mais je n’ai aucun doute que certains sont perdus dans les méandres du système, et que d’autres ont à peine les moyens de joindre les deux bouts. Toutefois, la générosité des membres moins touchés par la crise et de ceux qui continuent d’être rémunérés de quelque manière s’est révélée un côté positif. Notre Fonds d’urgence spécial a permis à certains de mettre du pain sur la table, et nous sommes très reconnaissants envers toutes les personnes ayant versé des dons au Fonds. Nous les REMERCIONS TOUS!

Néanmoins, l’impact économique n’a pas été la seule difficulté pour les musiciens. Nous sommes des artistes et nous voulons partager notre musique avec les autres. Nous avons besoin de la rétroaction de nos auditoires. Je termine le présent message avec l’espoir de pouvoir retourner sous peu aux salles de spectacles, aux bars, aux mariages, aux établissements de retraite, aux prestations dans les églises et à tous les endroits où nous apportons de la joie par l’entremise de notre musique.



Secretary Treasurer’s Message

Robin Moir

Dear Members

The Local 180 office of the MusiciansAssociation of Ottawa-Gatineau closed its doors on March 16th, when the City of Ottawa requested that all non-essential businesses close due to the COVID-19 pandemic. We were able to send out a message to members alerting them to the fact that the General Meeting scheduled for that day would not take place.

Office Administrator Dan Blackwell and I dismantled the workplace and took our office computers and necessary files home. We have worked out a system that has been efficient and effective, and we have continued to work from home and will most likely do so until the City of Ottawa relaxes restrictions.

We have been able to stay in touch with members in Ottawa along with our many partners through e-mail, phone calls and Zoom.

I want to thank the Canadian Office for its support during this time. There have been many questions asked by Canadian locals, and many questions answered by the CFM, most particularly, VP Alan Willaert, Executive Director Liana White, and Director of Administration Sue Whitfield .to say that I have them on speed-dial is not an understatement. They have continued to lobby the Federal and Provincial governments on behalf of our musicians.

The Local has endeavored to send out emails to the membership to keep everyone informed; that is especially true of the Relief Fund which was created in late March. Within days we saw the complete dissolution of the freelance music industry, and at the same time we saw the industry come together to help one another.

Along with our many freelance benefactors, the Relief Fund has been supported by the NAC Orchestra. This has allowed the Local to help many members in need and enabled those members not as greatly impacted by the pandemic to givewhen their help is needed most. It has been most gratifying and deeply moving.

To donate please e-transfer funds to: dues@ma180.org along with a note saying that the money is for the relief fund.

We have no idea how the future will look in terms of musicians getting back to work. If the forecasts are to be believed, it could be many months, well into the fall and early winter. What we do know is how important music can be especially in times such as these, and musicians are performing and teaching in isolation as soloists and in groups.

At this point our Local is also concerned with the business of the Local, and how our membership numbers will be impacted. This reduction in our membership will no doubt cause some fiscal concerns moving forward. Fortunately we moved to e-transfers, so that postage expenses have been greatly reduced, and our newsletters may also be sent electronically. The Board will continue to monitor this situation.

In the midst of the turmoil of this pandemic, I welcomed the birth of my second grandchild, a girl, on Easter Sunday with great joy and hope. This event served to remind me to reflect on the simple joys of life and the things that really matter.

I wish all of you continued health as we make our way back to life, music and the gladness of living!  


Rapport de la secrétaire trésorière

À tous les membres

Le bureau de la Section locale 180 de l’Association des musiciens d’Ottawa-Gatineau a fermé ses portes le 16 mars alors que la Ville d’Ottawa demandait à toutes les entreprises non essentielles de suspendre leurs activités en raison de la pandémie de la COVID-19. Nous avons réussi à transmettre un message aux membres, les avisant de l’annulation de l’assemblée générale prévue cette même journée.

L’administrateur du bureau, Dan Blackwell, et moi-même, avons démonté le lieu de travail et avons déménagé les ordinateurs du bureau ainsi que les fichiers nécessaires à la maison. Nous avons élaboré un système efficace et efficient, et nous avons continué de travailler de la maison, chose que nous ferons fort probablement jusqu’à ce que la Ville d’Ottawa assouplisse les restrictions.

Nous avons réussi à rester en contact avec les membres à Ottawa et avec nos nombreux partenaires par l’entremise de courriels, d’appels téléphoniques et de Zoom.

Je remercie le bureau canadien de son appui en cette période difficile. Les sections locales canadiennes ont posé énormément de questions, et la FCM, plus particulièrement, le VP, Allan Willaert, la directrice exécutive, Liana White, et la directrice de l’Administration, Sue Whitfield, ont répondu à plusieurs de ces questions. Ce serait un euphémisme de dire que ces personnes sont en numérotation abrégée. Elles poursuivent leurs efforts de pressions politiques auprès des gouvernements fédéral et provinciaux au nom de nos musiciens.

La Section locale a tenté de transmettre des courriels aux membres afin de les tenir au courant. Cela est particulièrement vrai dans le cas du Fonds de secours, lequel a été créé à la fin de mars. En seulement quelques jours, nous avons été témoins à la fois de l’effondrement de l’industrie musicale indépendante et d’un front commun d’entraide à même cette industrie.

En collaboration avec nos nombreux mécènes indépendants, le Fonds de secours a été appuyé par l’Orchestre du CNA. En conséquence, la Section locale a été en mesure d’aider plusieurs membres en difficulté et a permis aux membres moins touchés par la pandémie de contribuer… à un moment où l’aide est vraiment nécessaire. Cela a été des plus valorisants et profondément émouvant.

Pour faire un don, veuillez transmettre les fonds par virement Interac à : dues@ma180.org

Nous n’avons aucune idée de ce que nous réserve l’avenir dans le contexte du retour au travail pour les musiciens. Si l’on en croit les prévisions, cela pourrait prendre plusieurs mois, notamment tard à l’automne ou au début de l’hiver. Nous connaissons cependant l’importance de la musique dans des périodes comme celles que nous vivons. Les musiciens s’exécutent et enseignent en isolement en tant que solistes et en tant que groupes.

Présentement, notre Section locale se préoccupe aussi des affaires de la Section locale, et de l’incidence sur le nombre de membres. Cette diminution du nombre de membres occasionnera sans doute des inquiétudes budgétaires alors que nous allons de l’avant. Heureusement, nous sommes passés aux virements Interac, réduisant ainsi les dépenses postales, et nos bulletins seront possiblement aussi transmis par voie électronique. Le Conseil continuera de surveiller cette situation.

Le dimanche de Pâques, dans la tourmente de la présente pandémie, c’est avec joie et espoir que j’ai accueilli la naissance d’un deuxième petit-enfant, soit une petite-fille. Cet événement m’a rappelé de réfléchir aux joies simples de la vie et aux choses qui comptent vraiment.

Je souhaite la santé à tous alors que nous sommes sur le chemin du retour vers la vie active, la musique et la joie de vivre!




The Local Executive Board is proposing a change to our bylaws. It is not a substantive change but merely serves to codify what has been the practice for many years. We will be voting on this change at our June meeting, which will be led via Zoom.

Article 5

Section 10 – The annual dues shall be set from time to time by the Executive Board. Each year the dues will automatically increase by five (5) dollars. Any further changes will be brought to the membership at a general meeting for ratification.

The annual dues may be paid in full or in installments.

A discount will be offered to those who pay the full amount by the end of January.

If the annual dues are paid in installments, the first installment of Membership Dues shall be paid by March 31st. Members who have not paid by midnight of that date are suspended and may be reinstated only as provided in Article 7, Section I, of these Bylaws. Furthermore, if the first installment of Membership is not paid by midnight June 30th that suspended Member shall be expelled and may be reinstated only as provided in Article 7, Section 2, of these bylaws.

The second installment of Membership Dues shall be paid by September 30th. Members who have not paid by midnight of that date are suspended and may be reinstated only as provided in Article 7, Section 1, of these Bylaws. Furthermore, if the second installment of Membership is not paid by midnight December 31st that suspended Member shall be expelled and may be reinstated only as provided in Article 7, Section 2, of these bylaws.

Notwithstanding the penalties for suspension and expulsion referenced above, the Executive Board of Local 180 reserves the right to waive such penalties in an extraordinary situation.

(Any member whose dues are three months in arrears shall be suspended and may be reinstated only as provided in Article 7, Section I, of these Bylaws. Any member whose dues are six months in arrears shall be expelled and may be reinstated only as provided in Article 7, Section 2, of these Bylaws.)

The (above) annual dues (amounts) include per capita dues that are forwarded to the AFM head office. Any increases in per capita dues that are passed at the AFM Convention shall automatically be added to the (above figures) Local’s annual dues.


The following article is reproduced here with permission of International Musician.

Click on Alan’s article to open a PDF of the story.


Hugh O’Connor

Hughie O’Connor was a guiding light for musicians of my generation and for generations to follow. He was also a guiding light for musicians of his own generation. He was the real deal jazz master who set the standard for all of us to try to reach.

Hugh was humble, full of enthusiasm for what younger musicians were doing and above all, one of the most honest musicians and people you could meet. I think he was your classic Irish tenor who simply sang through his horn. Like a singer, he played what he heard and only what he heard; never a technical flourish driven by muscle memory. Every note came from his heart and soul. I heard Hughie scat sing a few times, at his house when we would be practicing together. He sang exactly like he played and he played exactly like he sang – it was a oneness that I’m still working on!

Beyond the music, some of my fondest memories of Hugh were from going out sailing with him on the Ottawa River. He just loved the freedom of going with whatever wind was available and letting the boat take us on a wistful journey much akin to the rhythmic feeling he would so often convey both in his playing and in his count-offs to tunes.

Some other fond memories are of our little Wednesday afternoon cooking club! We were playing at the Skyline Hotel in the 70s for about three years, six nights a week – yup, six nights a week (that, by the way, was my jazz schooling). Hughie, the amazing Carl Bova who played trumpet like Miles Davis, Norm Clarke (who would sub for Hughie or Carl sometimes) and I would meet every Wednesday. We’d pick up Norm in Aylmer around noon then first stop was the LCBO :-). Next, we were off to the food markets (often to China Town or Little Italy). Then over to whoever’s house was next on the rotation. We’d each contribute one dish. The afternoon was spent cooking, listening to music (on vinyl – all Bill Evans if Hughie had his way) and “sipping” our beverages. As many of you know, Hughie also loved his pot – – well, I guess we all did. Every Wednesday night the band sounded a little different!

Those of us who knew Hughie, had the chance and the honour to play music with him and to become his friend will never forget – well, it’s not a matter of forgetting. How can you forget someone who is deeply rooted in who you are, in your soul.

Rest in peace, dear Hughie.

Roddy Elias

I first played with Hughie when we toured Canada from Victoria to Charlottetown with the NAC Theatre company in ’78 or ’79. The band included Roddy Ellias, Scott Alexander, Jack Coghill, Rod Pearson and Joe Bendza.

When I returned to Ottawa after a decade in Toronto, I started playing regularly with Hughie, usually in a trio or duo. For over 20 years we always had a weekly gig, usually on a weekend afternoon or evening: Claire de Lune, Maxwell’s, Sammy’s Cellar, Chez Lucien, etc. For several years we had Jordan O’Connor on bass. Over the years we did thousands of gigs together including a few CBC recordings and several OIJF concerts.

I was also fortunate to record a CD with Hughie. He was 80 and it was his first and only solo recording. He chalked it up to a lack of ambition. Harvey Glatt was largely responsible for convincing him to record and subsidized the project.

I learned hundreds of tunes from Hugh. He wasn’t a pianist but he knew all the hip chord changes to the jazz standards and would sit at the piano and show me the most beautiful voicings.

We rarely used charts on Hugh’s gigs. If I wasn’t familiar with a tune he would outline the chord changes on his saxophone in a very clear fashion and was patient (usually but not always) while I fumbled my way through. By the 3rd or 4th chorus I usually had somewhat of a handle on the changes.

Hughie was a philosopher. He was also a rebel and had little respect for authority figures which is amazing because he somehow lasted for 30 years in the Canadian Armed Forces band. I think they made a lot of allowances for his personality because he was such a great musician.

Politically he leaned hard to the left and he would often quote Noam Chomsky.

Whenever a young musician asked for a lesson (which happened a lot), Hughie would say he didn’t teach but would invite them over to play together. He taught by example and never charged a penny.

Along with Rob McConnell, Dave Hildinger and my trombone teacher Jerry Johnson, Hughie was one of my mentors and taught me so much about music.
I’m going to miss him.

Mark Ferguson

Howard Tweddle

It is with a lot of emotion that we share Howard’s passing on April 22nd from complications related to Covid-19.

He is survived by his wife Eveline; his children Eva (Adrian), Terence, and Mila (Paul); and his adoring grandchildren Cloé and Katiana (Eva) and Everett and Theodore (Mila). He will also be dearly missed by his brother and sister and extended family in the UK and many friends in Ottawa and around the world.

Howard was born in Colchester, Essex, England on February 15th, 1951. His career took him first to Belgium and then to Canada in 1981.

Howard had a passion for science, engineering and music. Music was a great part of his life from a very young age, bringing him and those surrounding him much joy. Howard was an active member of the local Jazz community in Ottawa. Howard was also very passionate about his career, which he enjoyed until the last month of his life.

Given the present circumstances, we are planning a memorial event at a later date when we can gather together. We also plan to broadcast the event for those who may not be able to attend in person. Please register at this link to receive more information by email as it becomes available: https://howardtweddle.life/

We would like to thank the staff at the Queensway Carleton Hospital. They were absolutely wonderful and provided great care to Howard, despite the risks to themselves and their families.

The Tweddle Family

Dave Hildinger


1928- 2020

We all remember a teacher and musician who made a difference in our lives. For many musicians in Ottawa, that teacher and musician is Dave Hildinger.

There isn’t enough room in this article to include all the tributes and wonderful stories about Dave. He has graced us with his extraordinary musicianship, his teaching, his mentoring, and his friendship.

Dave Hildinger was born in 1928 in Ann Arbor, Michigan. His parents owned a funeral home, which was in a three-story building. The funeral home was on the first floor, the family lived on the second floor, and the third floor was rented out. Dave had his first exposure to jazz, listening to the three jazz musicians who lived on the third floor. The Hildinger funeral home had a grand piano, where Dave did his practicing. There was usually a deceased person on display in a coffin beside the piano, so Dave learned to deal with a tough audience at a young age. At the age of 14 or 15, Dave started gigging in bars by lying about his age. In nearby Detroit, he gained a lot of education by visiting bars where he saw Count Basie, Lionel Hampton, Duke Ellington, and others.

Dave received his Masters in Music Performance in 1951 from the University of Michigan, and that year he left to serve in Korea. His bad eyesight kept him out of action, but he spent the next two years playing for the troops. When he returned from Korea, he moved to New York City, where he studied at the Manhattan School of Music and worked part time for the Radio City Orchestra. He played and recorded with the legendary Sauter- Finnegan Orchestra, and also performed with the Baltimore, Cleveland, Kansas City, and Toledo symphony orchestras.

In 1957 he moved to Germany, where he lived until 1970. He became well known in Europe as a composer, arranger, and pianist for TV, radio, records, films, and concerts. In 1967 he became the conductor of the RIAS-Berlin Radio Orchestra. On a trip back to the US in 1960, he proposed to Nancy, the love of his life. They were married and Nancy joined Dave in Germany.

When Dave and Nancy decided that they wanted to return to North America, Dave was offered work in LA, New York, and Ottawa. Because they wanted to raise their children in a small city, they chose Ottawa and for the first two years in Ottawa, Dave worked as a music teacher at Woodroffe High School and in 1972 he was offered a job at the University of Ottawa….during this time Dave began gigging with Ottawa musicians.

Dave’s trio with Roddy Ellias and Scott Alexander was superb. Dave played beautiful melodic and harmonic ideas; there was never any expression in his face or his body. There wasn’t a trace of showmanship…he was all about the music.

So many musicians have expressed an appreciation for Dave’s musicianship:

Rene Lavoie was in New York in 1987 studying with Joe Allard and Eddie Daniels. Rene says “Dave contacted me to let me know that he was going to be playing in New York City with the legendary Sauter-Finnegan band. The concert was to be held at the Town Hall and it was a reunion of the remaining musicians and top jazz players in New York. Dave invited me as a guest to attend the rehearsal and concert. When I got to the rehearsal, I was stunned by the musicians present. Jim Hall was on guitar, Terry Clark on drums, Wayne André on trombone, Harvey Phillips on tuba. The sax section included all four members of the New York sax quartet headed by Wally Cane and Don Ashworth, the tenor player from the Tonight Show band. The trumpets included John Faddis and Lou Solof. The band rehearsed all afternoon with no complaints from anyone, and then they played the complete program that night. I had never heard the band before. It was a life-changing experience. Dave played piano and was absolutely beaming at the end of the gig. This was the last gig of this incredible band. I was privileged to be there.”

Robin Moir wrote about how impressed she was by Dave’s skill as an accompanist. She said, “Dave is the finest accompanist I’ve ever worked with. He listens intently and anticipates where the singer is going. I loved working with him. His work ethic was incredible, and he loved rehearsing, always making sure that everyone felt confident. What was always so wonderful was that no matter how many times a song had been rehearsed and performed, each time there were subtle differences. He made allowances when I changed up and went someplace new, and he felt free to do the same.”

Mark Ferguson

One of the things that impressed me about Dave as a teacher was the interest that he had in his students. For example, when I brought an original composition to Dave’s ensemble, we read through the tune, and the next week Dave had it memorized and didn’t require a chart. I was greatly encouraged by his interest in my work and the respect that he showed to me by putting time into learning my tune. And now that I’m a teacher, I try to apply the lessons in teaching that I learned from Dave.

John Geggie

John wrote that Dave Hildinger was more than his teacher—Dave was his mentor. “He started a jazz improv course and so many of us signed up — it was amazing. Roddy Ellias helped, and I got to know him well that way. Later on, I ended up working with Dave on gigs, and it was a big deal for me to get asked by either Dave or Roddy to play with them. I remember rehearsing at Dave’s house in Old Ottawa South. Nancy seemed to keep the Hildinger household on an even keel. I learned so many tunes thanks to Dave, and I learned how to learn tunes. He was one of the first people to show me how jazz tunes or standards were based on formulae. At U of O, I was in the jazz ensemble. Dave did almost all the arrangements, writing for whoever was in the band—maybe alto, tenor, baritone sax, French horn, three trumpets, two or three bones, rhythm section, and percussion. And then the next year, it might be different. Dave influenced me in terms of how to improvise and how to organize thoughts. I learned about musicians and the jazz tradition. He loved Bill Evans, Miles, Airto, Hermeto Pascoal, Art Farmer, and the list goes on .He turned me on to lots of jazz musicians who were completely new to me. I still have handouts from the courses he taught: commercial arranging, orchestration, and jazz improvisation. His approach was practical and useful. He mentored and helped me in so many ways.”

Roddy Ellias

Roddy wrote that, “Dave is a mentor, colleague, and a good friend. Because of him I went back to school at age 30 to pursue studies in classical music at U of O. His theory courses were inspiring, and he introduced me to the wonderful music of Steven Gellman, who was teaching composition. Dave and I played together in a duo for about ten years. We played original music and often got together just to play and improvise freely. This helped us connect on many levels. Dave played on my first recording in 1979, with Scott Alexander, Kevan MacKenzie, Hugh Marsh, Robin Moir and Joe Turner. I was a regular fixture at Dave and Nancy’s house for supper in those days. It was a very happy and musical time.”

Dave’s wife, Nancy, passed away in 2012 and the Local deeply regrets to inform the membership that Dave passed away in March 29, 2020 at the age of 91. 

Mark Ferguson

Gilles “Satch” Marcel Rhéaume

May 12 1944 – May 17 2020

Satch passed away on May 17th 2020 at the age of 76. He is best known and remembered as a first class bassist with the likes of Maury Logan & the Targets, Terry Carisse & Tenderfoot, the Hugh Scott Show and Carroll Baker’s backup band, Baker Street.

For those who knew him personally, his unique sense of humour made the times spent with him the best times ever. He will  be missed by those closest to him, the musicians with whom he worked, and the many friends and acquaintances he made over the years.


Bob Butch Boucher


Monday, June 15 @ 12:30 p.m. from your place

Supply your own lunch.


Member Michel Cloutier has just released a brand new album. Deep Vibes – Upbeat is a jazz instrumental album written, recorded and produced by Michel. The project features some of Ottawa’s premiere session musicians – all members of Local 180.

Michel Cloutier – drums, vibraphone and percussion
Ian Clyne – keyboards
Craig P. Kennedy – guitar
Ken Seeley – bass
Mark Ferguson – trombone
Ed Lister – trumpet
Mike Tremblay – saxophones and flute


Visit the DEEP VIBES website to listen to and purchase UPBEAT. deepvibesmusic.ca

 . . . . . from our homes to yours:



This is a golden opportunity to attend a Local 180 General Meeting if you
haven’t been able to do so in the past because of distance or work.


June 15, 12:30 PM


1. Download the Zoom app if you don’t already have it.
2. Send Robin or Dan an email to confirm your attendance.
3. Wait breathlessly to receive an email with the meeting ID number and password.
4. When the meeting time arrives, simply click on the link in the email.
Special instructions: Bring your own pizza.



In preparation for the General Meeting, please take time to review the proposed 2021 Price List. We’ll be voting on the changes.


New Members

Mosley, Paul – Rudimentary Drums
Ziebarth, Delaney – Vocalist, Mandolin, Guitar, Piano


Davis, Debra Vocalist
Diez d’Aaux, Judy Piccolo/Bass Flute/Alto Flute (in G)/Flute
Di-Teodoro, Tony Guitar, Vocals



Bertoli, Mauro (Congrats on joining the Ottawa Police Force)
Dorig, Ulrich
Richard, Nicholas
Vachon, Christian


Dear Members,

Please email dan@ma180.org or call Local 180 at (613)700-9260 or (613) 692-7034, or (613) 314-0841 for any fees that are owed to you from media events, festivals, or any engagements that you have played.

Many times engagers have complained to us that they do not have the correct address for musicians, and cheques are misdirected.

However, if you are having difficulty receiving payment after three or four emails and telephone calls, your next call should be to the Local 180 office so that we can follow up for you.

AFM ID Numbers

Dear Members,

For the purposes of filing contracts, the Musicians’ Pension Fund of Canada has done a great deal of work to protect the privacy of members in terms of SIN numbers. Canadian Locals are now permitted to use an AFM ID number in lieu of a SIN number on all contracts.

When sending funds from the Local 180 office, we will require you to know your AFM ID number.

Beginning in January this year, the office has included your AFM ID number on your membership dues receipt, which you received in the mail.

You may also go to cfmusicians.org and register there to obtain your AFM ID number and update any information. The good thing about registering on the site is that when you update your personal information, it is also received in the office so that we are current. 

Upcoming Local 180 General Meetings in 2020

Monday, March 16, 2020

Monday, June 16, 2020 – ON-Line VIA ZOOM

Monday, September 14, 2020

Monday, December 14, 2020


Monday to Friday 10:00 AM – 4:00 PM

Here are the closure dates from now until the end of 2020

Good Friday, April 10

Easter Monday, April 13

Victoria Day, Monday, May 18

Canada Day, Wednesday, July 1

Civic Holiday, Monday, August 3

Labour Day, Monday, September 7

Thanksgiving, Monday, October 12

Remembrance Day, Wednesday, November 11

Holiday Closing:

Closed – Wednesday December 23 at noon

Closed – Tuesday December 29

Closed – Wednesday December 30 until January 4, 2021

Attention Members!!!

Due to popular demand members may now pay membership dues using E-Mail Transfer using the email address


Once we process the transfer, we will send you an electronic receipt.

Thank you!


Do we have your current email address?

The Local 180 Office sends out important advisories to members by email and we want to make sure that you’re reachable. This year the Local will also be paying most musicians using E-Transfer and Direct Deposit, so we MUST have your correct e-mail address.

Please notify the office of any changes to your contact information. Include your phone number, home address and email address.

Call (613)700-9260 to make sure that we have your correct contact information.


A person who has been expelled from our Association is no longer a member of the Association or the AFM. Members and leaders are reminded:

Do not play engagements with non-members. Persons are generally expelled for serious violations of our Constitution and Bylaws. Expulsion is not a life sentence; 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 non-member rights and privileges with belong only to members.


YEARLY DUES – $207.00

HALF-YEAR DUES – $104.00


YEARLY DUES – $104.00


Next Deadline for Membership Dues June 30, 2020





Your business is music to our ears.

You spend hours perfecting your talent and invest in equipment which allows you to express it.

HUB International is in-tune with your needs and has you covered.

· All-risks’ coverage on your instruments and equipment
· Worldwide coverage
· Rental Reimbursement — up to $10,000 in coverage, if you need to rent instruments or equipment in the event of a loss
· $100 deductible per occurrence on instruments and equipment
· Commercial General Liability including bodily injury, property damage, medical payments tenants legal liability and non-owned automobile
· Up to $2,500 coverage on promotion material, T-shirts, CD’s, posters, etc.
· Loss of earnings up to $5,000 due to loss or damage to venue
· Loss of earning up to $5,000 due to loss or damage to equipment
· Rented, Leased or Borrowed Equipment, $10,000 limit up to 14 consecutive days

· $2 rate per $100 sum insured for Instruments and Equipment
· Liability rates ($500 deductible):
o $1,000,000 limit – $60 per member
o $2,000,000 – $115 per member
o Higher limits available upon request

Cristina Omar| cristina.omar@hubinternational.com | 519-325-1785 | TF: 800-463-4700
Musicians’ Instrument
Equipment Liability
Specifically for
CFM / AFM members