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

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

So What’s New? 

This issue of the News Harp focuses on new events, new members and a spirit of renewal around the world. There may be some seemingly new rules, regulations and advice about contracting (see Robin’s article) to those of you who are new to this field or those who may have been ignoring those guidelines, either willfully or through ignorance, but they are in fact of long standing. 

Covid has not gone away, but what is new is our collective attitude towards it. Most people seem to be accepting it as a fact of life that will hopefully not be terribly serious for those who have been protecting themselves against infection. 85% of Canadians have had at least one shot of vaccine. Personally, I have seen fewer and fewer people wearing masks in public places, so we can only hope that the numbers of those people who do become quite sick do not rise once more to the point where we all have to mask up again. If you are asked to wear a mask in a given venue, we hope that you will embrace this rule as a way to help not only yourself but those around you. 

In the meantime, concert halls, bars and festivals have opened up again and are doing their best to woo customers. Certainly, the huge numbers of fans at events such as Bluesfest have demonstrated that there is a great hunger to hear live music again. For those of you who have not been able to return to your pre-Covid activities, don’t forget that we have an Emergency Relief Fund available for people in straitened circumstances. We were fortunate enough to have received donations of $63,061 during the past couple of years, and there is still one-tenth of that left in the fund. We would like to make this an ongoing endeavor, so we will be asking for donations again once things get back closer to “normal,” whatever that may look like by now. This is a wonderful way to demonstrate the spirit of unionism, where we band together to help each other. 

If you have new contact information, please don’t forget to let both the Local and the Musicians’ Pension Fund of Canada know. It is of the utmost importance that we all have your updated info. 

New this year (well, almost): an in-person conference of the Organization of Canadian Symphony Musicians, after two years of Zoom meetings. David Goldblatt represented the NAC Orchestra most ably. I’ve been told that he contributed a lot to the meetings. Check out the rest of the Harp to see David’s report and to read about some of our newest members. 

You can also read about the new seasons of the NAC Orchestra and the Ottawa Symphony.  

And don’t forget to check out our new digs at 280 Metcalfe! 


Rapport de la président

Quoi de neuf?  

Le présent numéro du News Harp est axé sur des nouveaux événements, des nouveaux membres et sur l’esprit de renouvellement partout au monde. Il y aura apparemment certaines nouvelles règles, certains règlements et conseils relatifs à l’octroi de contrats (voir l’article de Robin) pour les nouveaux dans ce domaine ou ceux qui ne tiennent peut-être pas compte de ces lignes directrices, soit volontairement ou par ignorance, mais en fait, ces règles sont de longue date. 

Bien que la COVID soit toujours là, notre attitude collective envers elle a changé. La plupart des individus semblent accepter que ce soit un fait de la vie qui, espérons-le, ne sera pas d’une énorme gravité pour ceux qui se sont protégés contre l’infection. Parmi les Canadiens, 85 % ont reçu au moins une dose du vaccin. Personnellement, j’ai observé de moins en moins de gens portant le masque dans les endroits publics. Il est à souhaiter que le nombre de personnes très malades n’augmente pas encore à un tel point où nous devrons tous porter le masque de nouveau. Si l’on vous demande de porter le masque dans un endroit quelconque, nous espérons que vous accueillerez favorablement cette règle comme moyen de vous aider et d’aider à la fois les personnes qui vous entourent. 

Entre-temps, les salles de concerts, les bars et les festivals sont à nouveau ouverts et font de leur mieux pour conquérir les clients. Le grand nombre d’adeptes aux événements tels que le Bluesfest confirme assurément la grande soif d’entendre à nouveau la musique en direct. Pour ceux d’entre vous qui n’ont pas réussi à reprendre vos activités pré-Covid, n’oubliez pas qu’un Fonds de secours d’urgence est disponible pour les personnes vivant des circonstances difficiles. Nous avons eu la chance de recevoir 63 061 $ en dons au cours des dernières années, et le fonds compte encore un dixième de ce montant. Puisque nous aimerions poursuivre cette démarche, nous solliciterons encore des dons une fois que la situation reviendra plus près de la « normale », quelle que soit sa forme présentement. Cela s’avère une merveilleuse façon de faire preuve d’un esprit d’unionisme où nous nous serrons les coudes pour s’entraider.  

Si vous avez de nouvelles coordonnées, n’oubliez pas d’en aviser tant la Section locale que la Caisse de retraite des musiciens du Canada. Il est essentiel pour nous tous d’avoir vos coordonnées à jour. 

Nouveau cette année (enfin, presque) : une conférence en présentiel de l’Organisation des musiciens d’orchestres symphoniques du Canada, après deux années de rencontres en Zoom. David Goldblatt a très habilement représenté l’Orchestre du CNA. On m’a dit qu’il a largement contribué aux réunions. Vérifiez le reste du Harp pour voir le rapport de David et pour connaître certains de nos plus récents membres. Vous pouvez aussi vous renseigner sur les nouvelles saisons de l’Orchestre du CNA et de l’Orchestre symphonique d’Ottawa.  

De plus, n’oubliez pas de visiter nos nouveaux locaux au 280, rue Metcalfe! 


Secretary Treasurer’s Message

Robin Moir

Dear Members, 

Welcome to the fall! I cannot believe that it is time for pumpkin pie, preserving the harvest and celebrating autumn. 

Although the office is open, we are not back to normal with musicians coming in and out as our community is still dealing with COVID. I think that we can all agree that the process back to what we deem as normal is on-going. The good news is that musicians are working, and we continue to process contracts and contribute pension on behalf of engagers. 

Our social media campaign is experiencing activity in the community, and we are seeing positive results. 

David Goldblatt (violist at the NAC) represented the Local at the annual OCSM (Organization of Canadian Symphony Musicians) conference and you may read his report in this issue. There were many Locals unable to send delegates due to extreme financial concerns. Although Local 180 is also experiencing post-COVID fiscal constraints, we felt that representation was imperative.  

We have dealt with many questions regarding the various duties of contractors, stewards, leaders, and musicians in general and we plan to host a Zoom Forum in October/November to answer questions. 

There are various scenarios regarding engagements, and I will highlight two examples (but there are many more, which is why we are planning our discussion): 

An engager seeks to hire musicians, either an orchestra, group, duo or single: 

They may hire a group that they already know through the group’s leader, or they may call the office for recommendations for a leader who has a group that fits their needs. 

If the engager is dealing with a small-to-medium-sized freelance group, (which may include singles, duos on up to fifteen members) they tend to rely on the group’s leader to make the necessary arrangements with the musicians based upon the needs of the engager. In this instance there is usually no contractor (as the gig has booked directly through the group’s leader) and no steward. The leader works out the details with the engager, has the contract signed and sends the contract to the Local. The leader pays the musicians and remits the contract and pension on behalf of the engager to the Local.  

This is the flow of events for small groups, duos or single.  

If the engager is dealing with a much larger scenario, for an event that may need a more complicated/organized array of musicians, they hire a contractor. 

If the engager is unaware of contractors, they often call the Local to find a musician who does this job. The Local 180 Price List determines that the contractor is paid either as a playing contractor (rate the same as a leader) or a non-playing contractor (rate the same as a musician). 

The job of the contractor mirrors that of a leader, except that they may not personally know the musicians they are hiring. Often, they speak with other respected members to recommend a musician for a position in the group.  

As they speak with members, they ask them to pencil in the date and time of the engagement (put that date and time on hold), and once they have confirmed with the engager the terms of the gig, they sign the contract and then confirm the engagement with the musicians on hold. 

The contractor then asks one of the more experienced members of the group to function as steward, but what does that steward do? 

The Local 180 Price List determines that the steward is paid 10% over a musician’s scale rate.  

It is the job of the steward to look after the details of the engagement on the stage, on behalf of the contractor, the musicians, and the engager, and therefore the steward must know the details of the contract to do the job. Stewards are the eyes and ears of the Local, and they must ensure that the engaged musicians and contractor are dealt with fairly and that they are also doing their jobs as required. 

They must know rehearsal times, arrival times, and break times, and they must deal with any conflicts of any sort on or off the stage. They should know the Local by-laws and constitution.  

The truth is that the job of steward can be as easy as pie when there are no conflicts, but on the other hand…yikes! 

The great difficulties associated with yikes!” usually arise when there are disagreements between musicians or disagreements due to proper arrival and dismissal times….and it is the duty of the steward to manage these situations on the job with the contractor, leader or engager. 

There are numerous shades of grey, and for that reason that we are planning our roundtable discussion” in the fall. 

Please continue to call the office when you need advice and support, as we are always available to answer questions and concerns. 

The Canadian Conference is taking place via Zoom on the 12th, 14th and 16th of September, and our General Meeting is taking place on the 19th of September via Zoom at 12:30 PM. 

If you are unable to join us for the Canadian Conference, I hope that you can make our General Meeting on the 19th! 

Thank you, 


Rapport de la secrétaire trésorière

Chers membres,  

Bienvenue à l’automne! Il m’est difficile de croire que c’est déjà le moment de déguster une tarte à la citrouille, préserver la récolte et célébrer l’automne.  

Bien que le bureau soit ouvert, le retour à la normale n’est pas encore atteint alors que des musiciens entrent et sortent, et que notre communauté est encore confrontée à la COVID. À mon avis, nous pouvons tous convenir que le processus du retour à ce que nous estimons normal se poursuive. La bonne nouvelle, c’est que les musiciens travaillent, que nous continuons de traiter des contrats et de contribuer au fonds de retraite au nom des employeurs.  

Notre campagne de médias sociaux connaît une certaine activité communautaire et les résultats qui en découlent sont positifs.  

David Goldblatt (altiste au CNA), a représenté la Section locale à la conférence annuelle de l’OMOSC (Organisation des musiciens d’orchestres symphoniques du Canada), et vous pourrez lire son rapport dans le présent numéro. Plusieurs sections locales n’ont pas été en mesure d’envoyer des délégués à la conférence en raison de préoccupations financières. Bien que la Section locale 180 connaisse aussi des contraintes budgétaires à la suite de la COVID, nous avons jugé la représentation essentielle.  

Nous avons abordé diverses questions à propos des différentes obligations des entrepreneurs, des délégués, des chefs d’orchestre et des musiciens en général, et nous prévoyons tenir un forum Zoom en octobre / novembre en réponse à ces questions.  

Divers scénarios existent par rapport aux prestations musicales, et j’en souligne deux exemples (cependant, il y en a plusieurs autres , et c’est pourquoi nous planifions notre discussion) :  

Un employeur cherche à embaucher des musiciens, soit un orchestre, un groupe, un duo ou un solo :  

Il embauchera possiblement un groupe qu’il connaît déjà par l’entremise du chef de groupe, ou il téléphonera au bureau pour des recommandations au sujet du chef d’un groupe qui répond à ses besoins.  

Si l’employeur recherche un groupe indépendant de petite à moyenne taille, (lequel peut comprendre un musicien solo, des duos, et peut aller jusqu’à 15 membres) il a tendance à se fier sur le chef du groupe pour faire les arrangements nécessaires avec les musiciens en fonction des besoins de l’employeur. Un tel cas ne comprend habituellement aucun entrepreneur (puisque le chef du groupe réserve la prestation directement) et aucun délégué. Le chef finalise les arrangements avec l’employeur, fait signer le contrat et le retourne à la Section locale. Le chef rémunère les musiciens et remet le contrat ainsi que la pension à la Section locale au nom de l’employeur.  

Voilà le flot des événements pour des petits groupes, des duos ou un solo.  

Si l’employeur traite avec un scénario beaucoup plus large, dans le contexte d’un événement nécessitant un éventail de musiciens plus complexe et structuré, il embauche un entrepreneur.  

Si l’employeur n’est pas au courant des entrepreneurs, il appelle souvent la Section locale pour trouver un musicien qui effectue ce travail. Selon la liste de prix de la Section locale 180, l’entrepreneur est rémunéré soit à titre d’entrepreneur exécutant (au même prix que le chef) ou à titre d’entrepreneur non exécutant (au même prix qu’un musicien). 

Le travail de l’entrepreneur reflète celui d’un chef, mais il se peut qu’il ne connaisse pas personnellement les musiciens qu’il embauche. Souvent, il fait appel à d’autres membres respectés afin de recommander un musicien pour un poste dans le groupe.  

En échangeant avec les membres, il leur demande de réserver la date et l’heure de la prestation (de mettre cette date et cette heure en attente). Une fois les conditions de la prestation confirmées avec l’employeur, il signe le contrat et confirme la prestation auprès des musiciens en attente.  

L’entrepreneur demande ensuite à l’un des membres du groupe plus chevronné d’agir comme délégué. Mais, que fait ce délégué?  

La liste de prix de la Section locale 180 détermine que le délégué soit rémunéré 10 % de plus que le barème tarifaire d’un musicien.  

Le délégué est chargé de coordonner la prestation sur scène, au nom de l’entrepreneur, des musiciens et de l’employeur. En conséquence, le délégué doit connaître les précisions du contrat pour effectuer son travail. Les délégués sont les yeux et les oreilles de la Section locale, et ils doivent veiller à ce que les musiciens et l’entrepreneur embauchés soient traités équitablement et à ce qu’ils effectuent leur travail comme prévu.  

Le délégué doit connaître les heures de répétition, les heures d’arrivée et les heures de pause. De plus, il doit régler tout genre de conflit sur scène ou hors-scène. Il devrait connaître les règlements administratifs et la constitution de la Section locale.  

À vrai dire, le travail de délégué peut être d’une part très simple lorsqu’il n’y a pas de conflits, mais d’autre part… Zut alors! 

Les grandes difficultés liées à « zut alors! » relèvent habituellement de désaccords entre musiciens ou de désaccords à cause des heures appropriées d’arrivée et de congé… et le délégué doit gérer ces situations au travail avec l’entrepreneur, le chef ou l’employeur.  

Les nuances de gris sont nombreuses, et c’est pour cette raison que nous planifions une « table ronde » cet automne.  

Nous vous invitons à appeler au bureau lorsque vous avez besoin de conseils et d’appui. Nous sommes toujours disponibles pour répondre à vos questions et préoccupations.  

La Conférence canadienne a lieu en Zoom les 12, 14 et 16 septembre, et notre Assemblée générale a lieu en Zoom le 19 septembre à 12 h 30.  

Si vous ne pouvez pas être des nôtres pour la Conférence canadienne, j’espère que vous y serez à l’Assemblée générale le 19 septembre!  



Here’s a photo of Robin Moir, our Secretary-Treasurer, meeting Queen Elizabeth on Parliament Hill after performing for Her Majesty and Prince Philip on Canada Day in 1967. Also on the same show, but not pictured here, was our webmaster Dave Poulin who also performed with his group The Five D.

The Organization of Canadian Symphony Musicians

2022 OCSM Conference Report

By David Goldblatt

Regina, SK August 8-12

I had not been to an OCSM conference since 2015. It was an honour to represent the National Arts Centre Orchestra at the 2022 OCSM conference. Normally on the first day of the conference things start off with Executive reports and Delegate reports. Due to flight delays on Air Canada, I was not able to make it in time for the first day’s activities. I was not alone; the delegate from the COC and Winnipeg Symphony were also late on Monday due to flight delays.

On Tuesday, August 9, the OCSM Conference proceeded with a joint session with Orchestras Canada. We walked down the street to another hotel where the OC Conference was taking place. The OCSM delegates mixed in with managers of various Canadian orchestras for a full day of workshops. The session started with a presentation by Merelda Fiddler-Potter on The Role of Musicians and Orchestras in Reconciliation. After lunch, we sat in on a joint presentation from Hill Strategies. It was the first time such a joint session occurred between OCSM and OC. I found the day to be both encouraging and interesting.

Wednesday started off back at our hotel with a follow up presentation by Katherine Carleton, Executive Director of Orchestras Canada. She was very pleased with the joint session the day before and promised it would not be the last time such a joint undertaking occurred. Her take on the current state of orchestras in Canada was cautious but optimistic. A wait and see attitude was what Katherine recommended we adopt post pandemic. After the OC session, we received a presentation from the Musicians’ Pension Fund of Canada via zoom. Normally this presentation is given live, but due to the lingering effects of the pandemic, the Fund speakers decided to join virtually as did several orchestra delegates. The Pension Fund is in good health and a full report can be found on their website. After lunch, we participated in a lively negotiation role play exercise organized and moderated by Rochelle Skolnick, SSD Director, AFM who was present for the entire conference. To be honest, this was my favorite part of the whole conference. It was a good opportunity to “nerd out”, which I did with great pleasure. I felt my experience with past negotiations helped guide our group to a successful outcome. The day concluded with a social event organized by OCSM which consisted of a lovely meal at Sky Bistro in Regina for all the delegates, AFM representatives, and OCSM executive.

Thursday morning, we continued the conference with virtual reports from ICSOM, ROPA, TMA, and RMA. Afterwards, the few delegates who were not able to make their reports on Monday, got a chance to do so. I was able to give a fulsome report on the 2021-2022 season of NACO. I took quite a few questions after my presentation. Of particular interest was our new audition procedures which include fully screened rounds and the new allowance for remote, recorded rounds when desired. After the lunch break, Michael Wright gave a presentation on the different types of employment status for orchestral musicians in Canada.

Friday was a short day which started with OCSM conference resolutions and Executive Board elections. Even though the conference was attended by fewer delegates this year, it was extremely beneficial that NACO was represented. The TSO and OSM were unfortunately unable to attend so it was even more important that I was able to represent one of the big orchestras in Canada at the conference. I felt that my experience in the business was a help to newer delegates. As always, forging relationships and communication are a basic staple of the grass-roots organization that OCSM is. I was very happy to be able to contribute in person at this year’s conference.

David Goldblatt, Assistant Principal Viola, NACO

NACO’s 2022-23 Season

The NAC Orchestra is back on stage! After spending the past two years in an on-again, off-again situation as the Covid rules changed, the Centre is open to live performances once again. When the musicians were not able to get together in person during the pandemic, they presented concerts in their homes. Some concerts were played by the full orchestra onstage but without an audience; these were available to the public for streaming. However, the upcoming season looks as if it’s making up for lost time. From the NAC website:

The season opens with the concert event of the fall: Montreal pianist Bruce Liu, celebrating his brilliant top prize win at the 2021 Chopin Competition, performs Rachmaninoff’s popular Rhapsody on a Theme by Paganini (Bruce Liu plays Rachmaninoff; September 8-9, 2022).  The concert program also includes playful works by Richard Strauss and Canadian composer Dinuk Wijeratne for an evening of music that is full of joy, and just plain fun. This concert will be livestreamed on the NAC website.

September also marks the return of NACO’s popular Fall festival. As part of Nordic Bridges, and in partnership with the Canadian Museum of Nature and the Royal Library of Denmark, the NAC Orchestra presents the festival SPHERE September 22-25, 2022. 

“We’re thrilled to share with you highlights of the NAC Orchestra’s 2022-2023 season. I can’t thank our patrons enough for supporting the Orchestra throughout these challenging times – whether in person in Southam Hall or online through our streamed concerts, or both. As I write this note, we have just returned from a triumphant Truth in Our Time tour and our first performance at famed Carnegie Hall in 30 years. It was so uplifting to see the New York audience lined up around the block for your NAC Orchestra who – unsurprisingly – played their hearts out. We are bringing all that energy and exceptional artistry with us into the 2022-2023 season, which is packed with brilliant Canadian and international artists, a thought-provoking festival and opportunities to experience the Orchestra in Ottawa and across Canada. We can’t wait!”
– Nelson McDougall, Managing Director, NAC Orchestra

Later in the Fall, NACO welcomes back to Southam Hall distinguished Québec conductor and NACO creative partner Bernard Labadie. Under the baton of one of the world’s leading experts in Baroque and classical repertoire, NACO presents an evening with Mozart that includes the great composer’s C minor Mass and his Requiem (Mozart’s Requiem; November 9-10, 2022). Mozart’s Requiem was incomplete when he died, and many have tried to realize his vision and finish the music he began.  A cast of Canada’s greatest vocalists, including soprano Jane Archibald, tenor Andrew Haji, and baritone Philippe Sly, perform with the acclaimed choral ensemble La Chapelle de Quebec in these not-to-be-missed concerts.  

Celebrated American violinist Hilary Hahn performs Antonin Dvořák’s Violin Concerto (Hilary Hahn plays Dvořák; January 18-19, 2023) with Alexander Shelley and NACO, in her first appearance in Southam Hall in more than two decades.  One of her generation’s finest musicians, Hahn moves effortlessly between moments of tension and tenderness in this abidingly beautiful concerto. The concert program features Beethoven’s instantly recognisable Fifth Symphony, with a powerful companion piece, “Fate Now Conquers” by American composer Carlos Simon, whose music was prominently featured back in fall of 2020 on the very first of NACO’s livestreams from Southam Hall.

NACO and Alexander Shelley are honoured to present the World premiere of the orchestral version of Songs for Murdered Sisters in Atwood, Heggie, Brahms (February 9 – 10, 2023).  Acclaimed Canadian baritone Joshua Hopkins makes his Southam Hall solo debut in this powerful work, written expressly for him, that conveys the tragedy of lives needlessly lost. The new work is a NACO co-commission with poetry by Canadian author Margaret Atwood and music by Jake Heggie. The program opens with the world premiere of Canadian composer and NACO creative partner Barbara Assiginaak’s Concerto Grosso, a NACO Commission. Assiginaak weaves Anishinaabe oral/aural traditions with Western classical techniques, to feature different combinations of instruments. The evening will conclude program concludes with Brahms’s Symphony No. 4, perhaps the perfect expression of German Romanticism in a symphony—passionate, filled with fury, and aimed straight at the heart. The symphony will be recorded to be released as on the fourth and final album in NACO’s Brahms recording cycle Clara-Robert-Johannes.

As part of NACO’s lively Pops Series, newly appointed Principal Youth and Family Conductor Daniel-Bartholomew Poyser leads Reggae Roots, an exploration of Jamaica’s famous musical genre, its people, sounds, and stories (February 23-25, 2023).  Hailed as reggae royalty, Jamaican-born Halifax-based vocalist Jah’Mila takes centre stage in a performance reflecting on the social, cultural, and spiritual importance of the magical musical genre that has shaped Jamaica and touched the world. 

Principal Pops Conductor Jack Everly closes the Pops in June with Ella and Frank (June 22-24, 2023), a tribute to vibrant personalities and frequent song partners Ella Fitzgerald and Frank Sinatra. The inimitable pianist/vocalist Tony DeSare has expertly curated the program with singer Capathia Jenkins, performing iconic songs like “Come Fly With Me”, and “A-Tisket, A-Tasket”. 


Ottawa Symphony Orchestra’s 2022-23 Season 

The Ottawa Symphony Orchestra is presenting some innovative events in their upcoming season, now that they are comfortably ensconced in their new home at Dominion-Chalmers and back to playing in person: three Sunday afternoon concerts with the full orchestra and two chamber concerts. 

The main series concerts showcase some soloists on unusual instruments and some very interesting programming. On November 20th, the program is called Music and Mythology. Tania Miller will conduct, while Shawn Mativetsky and Catherine Meunier will be the soloists on tabla and marimba, respectively.  

The concert on December 18th, entitled The Hockey Sweater and conducted by Evan Mitchell, also features two soloists — OSO Principal Clarinet Shauna Barker and the winner of the Senécal prize. This is a newly-reinstated competition, this year for harp, with the prize being the opportunity to play a concerto by Michael Conway Baker with the OSO. 

The third concert, on March 5th, entitled To the Girl Who Wants to Compose, will be conducted by Janna Sailor, and the repertoire is solely by women composers. The soloist, TBD, will be the winner of the ORMTA concerto competition. 

The chamber concerts, also on Sunday afternoons — November 27th and April 2nd —will feature the OSO wind quintet and select Carleton Music students. 

Ticket sales begin in September for everyone who wishes to support “Your Friendly Neighbourhood Orchestra.” 


Billy Melsness

William (“Billy”) Melsness isn’t exactly new to the Local. This Ottawa native joined in 2016 in order to get a P2 visa for a tour to the States, and he has rejoined now because of another tour. We all hope that he will keep up his membership when he learns of the benefits of being able to file contracts, protect his musical output and earn a pension.

Billy’s main instrument is guitar, but this self-taught musician, who has never had any formal training, has learned to play “a little bit of everything.” It sounds as if he has a superb ear!

He produces works by himself at home, via a musical language that he has developed for himself. He does solo projects and works with a couple of bands. He uses DAW (digital audio work station) software. After working out a song, he adds as many as 100 virtual instruments to it. He has many projects on the go and has released rights to some of them to small recording labels. When a recording is released, he also sells merchandise.

Billy’s upcoming tour was presented to him as a solo project, and he then asked a couple of friends to form a band with him. The project and tour are called “Unreqvited.” When asked what kind of music this is, Billy described it as experimental, in the metal category, energetic and dramatic.

Billy worked solely as a musician for a couple of years, but now, in common with many of our members, he has a side gig as a server to ensure a steady income. One interesting tidbit about this multi-talented fellow is that his email address is a kanji (an Oriental symbol)— a good way to avoid junk mail!

Jad Rahme

Jad Rahme (aka David Raffoul) was born and raised in Lebanon into a musically inclined family who not only introduced him to music but allowed him to fall in love with it. Jad first began singing at the age of seven. By the time he was 20, he was performing in clubs and music scenes throughout Lebanon. He settled into a flat in Beirut for seven years, all the while working hard and building his reputation as a professional. A great honour was to win the gold medal prize in a TV talent show in Beirut in 1998.

In 2003 he made the move to Montreal. He found much more than a new city — he found a family and a creative community that could push and inspire him. It wasn’t long before Jad was recognized as the “new young talent” around town and began performing in venues within the city such as the world-famous Lordia. Year after year Jad maintained a high level of professionalism and passion for music. Not only did his repertoire expand, so did his exposure and weight within the industry throughout Canada as well as the United States. He has collaborated with many big names in the Lebanese music industry.

Now that Jad has moved to Gatineau, we are pleased to welcome him to Local 180. He has been busy this summer performing at Lebanese festivals in Somerset, NJ (June) and in Ottawa and Mississauga (both in July). We imagine that we will see much more of this dynamic musician!

Eric Prodger

Q: What kind of music do you perform?
A: Classical/jazz/commercial I’m always open to learn/try new styles

Q: What is your background (personal, musical — anything of interest, really)?
A: I’m from Ottawa and I am currently based in Montreal. I’ve been playing bass trombone for about 9 years now. I currently go to McGill but I have also completed studies at the New England Conservatory, the Glenn Gould School, and the University of Ottawa. My principal teachers have included Pierre Beaudry, James Markey, Jeff Hall, and Douglas Burden. I am a bass trombone artist for the Edwards Instrument company and I play exclusively on their instruments.

Q: Are you an Ottawa native? If not, where have you come from?
A: Yes, Gatineau specifically but I tend to loop them as one place.

Q: What made you decide to join the Local?
After a long pandemic freelance work has finally become a option for me once again. I’ve been very fortunate to recently have had sub work with the Orchestre Symphonique de Montreal, National Arts Centre Orchestra, Orchestre classique de Montreal and Orchestre symphonique de Sherbrooke on top of a few others which required me to be in the guilde. On top of that I have just auditioned for and won the bass trombone position with the Kingston Symphony Orchestra. I will be starting with them in just under a week. Very excited to be a member and can’t wait to see what opportunities come my way in the future.

Q: Were you ever a member of this or another Local in the past?
A: No. I have purchased individual permits a couple of times but this is my first time as a member.

Q: Anything else that you’d like to add?
A: When I’m not fulfilling my bass trombone duties I really enjoy travel, getting outdoors and being active, experiencing the best cuisine possible and the occasional round of golf. Other than that I have two bengal cats which is a full-time job in itself.

Pamela Fay

One of our new members — or perhaps that should say “renewed” — is Pamela Fay. Pam, nee Inkman, was Assistant Principal Viola in the NAC Orchestra for five years in the 1980’s.

She tells us that she remembers when the orchestra was formed and that it was her goal from a young age to play in it. She caught the eye of David Fay, a bass player in NACO. They married and moved to Philadelphia when David got a job with the Philadelphia Orchestra. At this writing, Pam is on a three-week tour with that orchestra in Europe.

Pam worked for many years as a full-time substitute in the Viola section of the Philadelphia Orchestra. She was also fortunate to be the violist with the Wisteria Quartet for as many years. For several years now she has enjoyed teaching and performing in the Adult Chamber Music program at Interlochen, Michigan.

So what brings Pam back to Canada? The Fays’ daughter Hillary, a violist with the Canadian Armed Forces in Ottawa, is currently on maternity leave with two-year-old twins and a baby, so Pam and David spend as much time in Ottawa as they can. Pam has not only subbed for Hillary; she is also greatly enjoying playing Principal Viola with the Manitoba Chamber Orchestra.

How do you get an audience with the Queen? Just ask! Ottawa’s Sons of Scotland heading to Balmoral for Platinum Jubilee performance

Since 2005, the Grade 4 Sons of Scotland Pipe Band of Ottawa have performed regularly for Queen Elizabeth at Balmoral, the royal family’s summer estate in Deeside in the northeast of Scotland. 


The Sons of Scotland Pipe Band meets with Queen Elizabeth II at a previous performance at Balmoral.

We encourage all of our members to join PAL (

Please see their website and the March eNewsHarp for details about the organization and the planned residence for members of the arts community. It is not too soon to sign up for affordable housing for retirees, even if you are not sure that you’ll need it. And if you are not close to retirement, your membership will help the organization to focus on the needs of our community.


After a month of catching up on the unprecedented number of applications we received in the first days and weeks of the launch of the Live Music Workers Fundwe are reopening the application on September first!

Since the official application launch on July 6, we have received over 4000 submissions, making it very clear that our industry is in great need of this help. We are so proud and appreciative of the work you and your organizations have all done and continue to do to ensure that everyone in the Canadian Live Music Industry has access to this funding. What we have seen reading these applications and talking to our applicants is that things are not back to normal, and the pandemic continues to negatively impact the livelihoods of people in our community. 

Attached (below) is the step-by-step guide to the application in English and French, which includes the link to the application.

Détails de l’application étape par étape


Monday, SEPTEMBER 19th @ 12:30 p.m. from your place 


If you know ahead of time that you’re attending, please notify so he can send out the past meeting’s  minutes for your review.

Supply your own lunch.

Relief Fund Alive and Well

The Relief Fund established by Local 180 to help those musicians most greatly affected by the pandemic raised an astounding $63,061, thanks to the generous donations made by our own members, with a special shout-out to the musicians of the NAC Orchestra. Of that amount, $56,754 has been disbursed to our members, leaving a balance of approximately $6300. We plan to maintain the Relief Fund and to add to it. The pandemic may possibly be easing up, but its effects will linger for a long time, and one never knows what is around the corner. So here are a couple of things to keep in mind:

If you need assistance, or if you are aware of a fellow member who needs it, send a message to Robin. We do not ask those who need funds to justify the need or tell us what they will be used for. We assume that if you ask for help, you genuinely need it.

If you are in a position to do so, please contribute to the fund. You might need to tap into it some day yourself.

 . . . . . 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.


Monday, SEPTEMBER 19th, 12:30 PM


If you know ahead of time that you’re attending,
please notify so he can send out the past meeting’s  minutes for your review.


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.



Obituary of Janet Evans Wright

It is with immense sadness and pride that we said our final goodbyes to Jan, Mum, Granny, on July 28, 2022, at the age of 84 in Perth, Ontario. Janet will be forever loved by her husband of fifty-four years Paul Wright; her children Cressida (Matthew), Morgan (Jennifer), Allison (Bill) and grandchildren Aaron, Grace, Laura and William. Cherished sister to Carey (Colleen) in Australia and adored auntie to Sue, Karen and Sarah, their families and her cousins in Wales. She is predeceased by her parents Thomas and Dorothy Evans, and grandson Matthias.

Born in 1939, Janet attended the famed Central School of Speech and Drama in Albert Hall, London, studying stage management. She soon made the move to film and television working for Granada in Manchester and the BBC in Glasgow. In 1966, Janet emigrated to Canada, settling in Ottawa where she met famed filmmaker Budge Crawley and joined Crawley Films as a producer. In 1967, she joined the CBC where she enjoyed a more than 30-year career from on-screen host, award-wining producer and director of shows such as Scene from Here, Country Report, Switchback, Rockburn & Company, and as Senior Producer of Newsday. In 1968, she met a quirky jazz-loving English drummer named Paul and was swept away despite (or perhaps because of!) the fact he always had a portable record player and bag of vinyl by his side. Almost immediately they were inseparable. Her passion was sharing stories of the amazingly talented people in the arts and theatre community throughout the Ottawa Valley. Janet will be forever remembered for being self-effacing, wickedly funny, smart and creative. Her heart was in the garden at home in Westboro or walking the beaches of Kennebunkport, Maine, where she and her family made lifelong friendships and memories. Her last four years were spent in long-term care, in the loving and trusted care, of her husband and the team at Lanark Lodge, in Perth.

Janet chose an assisted death and spent her final days visiting with those she loved (both in person and virtually). She passed away peacefully listening to Gerry Mulligan with the loves of her life by her side.

A celebration of her life will be held at a later date. Arrangements are in the care of Blair & Son Funeral Directors, Perth.

Nos da, Cariad.

Marc Reid

With broken hearts, the family announces that Marc passed away rather unexpectedly at home on Wednesday morning, August 10, 2022; Marc Edward Reid of Arnprior was only 66. Beloved husband and best friend of Debbie (nee McWatty). Dearly loved Dad of Michael (Melanie McLeod), Rebecca “Becky” Nicholson (Patrick) and Daniel Reid, all of Arnprior.

Cherished and proud Papa of Addison, Max, Isla, and Lucas. Dear brother of Joseph Reid (Leo) of Toronto, Cathy Borowec (Dan) of Cobourg and Judy Hamre (Ferd) of Parksville, B.C. Son of the late John and Mary (nee Thurston) Reid. Also survived by extended family and many great friends.

Beyond his love for his family, Marc loved playing music. In fact, he lived to play music. Entertaining or just jamming, Marc was happiest when playing music. He spent countless hours recording or just being available to share his talents with anyone who wanted to listen.

He will be remembered and missed. Marc’s final care has been entrusted to the Pilon Family Funeral Home and Chapel Ltd., 50 John Street North, Arnprior. An evening of music by friends in memory of Marc is planned to be held at the Nick Smith Centre in Arnprior on Saturday, October 8th beginning at 6 o’clock. For those wishing, a donation to the Arnprior Food Bank would be appreciated by his family.




With the support of the friends, family and fans of the membership of the Musicians’ Association of Ottawa-Gatineau, the Local established this fund to assist the music community impacted so deeply by the pandemic. It is a fund created by musicians for musicians. For more information email:


The Unison Benevolent Fund’s mission is to help professional music-makers in times of hardship, illness or economic difficulties. Unison provides a vital lifeline for members of the Canadian music community; and due to the impacts of the COVID-19 pandemic, the need for Unison’s counselling and emergency relief services has never been greater.

Unison Benevolent Fund CLICK HERE


SOCAN Foundation announces the launch of the SOCAN Foundation Relief Fund for SOCAN members during the COVID-19 pandemic. “While SOCAN members are quarantining, the SOCAN Foundation offers this program to provide some financial support to music creators and publishers to get through these unprecedented times. This new fund is open to all SOCAN members who have earned more than $500 in royalties in the four most recent SOCAN distributions.


Over the years many of our members have turned to the Actors’ Fund of Canada, which has been in existence since 1958 and disburses over $500,000 annually to cover necessities for members of all the many and various trades and professions that make up the entertainment industry, including musicians. Common requests include: Rent or mortgage, Grocery costs, Medical costs, Emergency dental costs, Utility bills Dues (maximum of one year’s worth of dues; no initiation fees)

Childcare expenses

Support for individuals

Support for Independent production companies

We are creating the Short-Term Compensation Fund initiative to compensate independent production companies for the lack of insurance coverage for COVID-19–related filming interruptions and production shutdowns in the sector.The fund will make as much as $50 million available for the industry.

Canada Recovery Benefit (CRB)

The CRB provides $500 per week for up to 26 weeks for workers who have stopped working or had their income reduced by at least 50% due to COVID-19, and who are not eligible for Employment Insurance (EI).

Employer Payroll Service:

When the services of an Employer Payroll Service are required, that fee will be calculated at 25% of each contract total.

This amendment reflects what is happening on a national level.



New Members

Alec Curren – Drum set

Isabelle Gagnon – Harp

Quinn McGillis – Trombone

Lucas Olsen-Wilford – Violin, Viola

Khalid Omar – Vocalist

Eric Prodger – Bass Trombone

Nicholas Waterman – Guitar, Synth, Vocalist



Benjamin Cooligan

Marjolaine Fournier

Sarah Judith Hinse-Pare

Erik Johnson-Scherger

William Melsness

Julia Mintje van Lier

Robin Parsons

Heather Schnarr

Our new mailing address is:

The Musicians’ Association of Ottawa-Gatineau
Local 180
280 Metcalfe Street, Suite 301
Ottawa, ON K2P 1R7

2AFM 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 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 2021

September 19, 2022 – 12:30 PM – ON-Line VIA ZOOM

December 12, 2022 – 12:30 PM


Monday to Friday 10:00 AM – 4:00 PM

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.


If you are planning to file contracts electronically in 2022, please use
our new e-mail address:

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 which belong only to members.


YEARLY DUES – $217.00

HALF-YEAR DUES – $110.00


YEARLY DUES – $110.00


Next Deadline for Membership Dues JUNE 30, 2021





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| | 519-325-1785 | TF: 800-463-4700
Musicians’ Instrument
Equipment Liability
Specifically for
CFM / AFM members