Monthly Archives: June 2015

Trevor Dick Band’s “New World” CD travels physical and musical worlds

30 Tuesday Jun 2015

Posted by in CD/Music Review

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Trevor Dick Band - New World cover

I’ve had my hands on a review copy of the Trevor Dick Band’s debut CD New World for a few months, waiting to be able to review it. Recently, the band released the CD, in digital form, through cdbaby and are in the planning stages a street release/tour this fall.

And it means I can now voice what I’ve been privately telling a few friends: New World is world/jazz/folk fusion at its best.

Trevor and I are friends, having worked together on a few ministry projects. I’ve had the chance to witness the three-year journey he’s taken from the inception of New World to its release. The journey has fraught with challenges but Trevor’s and the band’s devotion to the CD’s music and mission has helped them look past them.

New World might seem like a departure from Trevor’s previous CDs, but anyone who’s seen him live will recognize his signature jazz/fusion stylings. Another key difference: New World is a true collaboration between Trevor and the musicians who have backed him up on previous recordings and during live performances.

New World is world/jazz/folk fusion at its best.

Like any solid ensemble, the Trevor Dick Band is the sum of its parts: Trevor (electric, MIDI and acoustic violin and viola), Tony Lind (electric and acoustic guitar), Will Jarvis (electric and acoustic bass) and Steve Heathcote (drums and percussion). The recording also features keyboard player Brad Toews who’s left for other pursuits. Those parts, individually, are impressive: Will’s performed with everyone from Tito Puente to Amy Sky; Del Shannon to David Clayton-Thomas; Tony’s credits include award-winning works by Ali Mathews, Chris Bray, Jodi Cross, Stephanie Israelson and Deborah Klassen; and Steve’s an award-winning drummer who’s played for Elton John, Shirley Bassey, Rich Little and Bob Newhart.

From the opening track “Perpetuum” to the acoustic reprise of “Schindler’s List” New World travels the physical and musical world. “Ayabanga Village Market,” and “Ifriqiya” have their roots in Trevor’s childhood in Nigeria where his parents were missionaries. Tony’s composition, “Bourbon St. Carnival,” conjures up the sights and sounds of the New Orleans jazz scene. The “East of Sinai Prelude” and “East of Sinai” evoke the turbulence often found in the Middle East.

The Trevor Dick Band also journeys into the world of mainstream music with arrangements of Eric Clapton’s “Change the World,” “Schindler’s List” the theme song from Steven Spielberg’s Oscar-winning and the title track “New World” which melds the Louis Armstrong hit “What a A Wonderful World” and Anton Dvorak’s “New World Symphony” into a seamless musical narrative.

As I’ve said in other reviews, I judge the quality of a CD by how often it ends up being played on my various devices. If New World were a vinyl LP, the grooves would have long been worn out long ago from being played over and over and over…

From the first time I heard about this project, I expected it to exceed anything Trevor, and, now the Trevor Dick Band, had done before. I haven’t been disappointed. You won’t be either.

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For more information on the New World CD, check www.trevordickband.com

Contests: love them, hate them…just don’t let them define you

23 Tuesday Jun 2015

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"OLYMPUS DIGITAL CAMERA"

The Word Guild recently announced the winners of the 2014 Word Awards (you can read the whole list here: https://thewordguild.com/2014-award-winners-announced). My congratulations go out to all those who either won or were shortlisted. Over the last few years, I’ve had a chance to interview a number of them and, without reservation, can say they deserve the accolades they’ve received.

The announcement reminds me, though, of my own love/hate relationship with awards.

It’s not because I’ve never won an award. During my three-decade-long career as a journalist, I’ve entered, been nominated for, or placed, in awards from the Alberta Christian Writers’ Fellowship (now the Inscribe Christian Writers’ Fellowship), God Uses Ink, The Word Guild and the Canadian Church Press, the Guelph Mercury Christmas Story Contest, Word Alive Press Publishing Contest, Fellowship of Christian Newspapers Awards and City of Edmonton Book Award.

And I’ve seen awards from three sides: as an entrant, as a judge and as a co-ordinator.

But I’m still ambivalent.

Why?

First, the hate. Awards can provide a writer with the biggest letdown possible. I’ve been shortlisted for an award and attended the ceremony. I’ve sat on the edge of my seat, waiting for my name to be called (try doing that in a kilt at a formal award ceremony) and then watching as another writer walks down the aisle to collect their award.

The feeling of impending loss is even more devastating when you’ve been given the evening’s program and you see who has been nominated in the same category. I can recall at least two times when I looked at that list, that I realized I was coming away with an honourable mention. And, to be honest, the works which were awarded, were better than mine.

I can’t let either a win justify or a loss negate my worth as a writer.

Topping off rejection experience at the award ceremonies are the emotions that arise from reading the judges’ comments about your entry. I’ve often wondered if the judges read the same piece I’d written, based on their feedback. At time it feels like you’re going through the five stages of grief in a matter of seconds because the heart and soul you put into your work has been ripped from your chest.

But, then there are the years when you’ve actually won, which brings the love. I recall, at one awards ceremony, sitting behind a writer whose name was called for one of the organization’s major awards. At first the writer sat in disbelief before saying “that’s me!” And in an instance, they were running towards the podium and tried to catch their breath to offer words of thanks and acknowledgement.

Winning an award, for many writers, seems like a validation of their choice to spend hour upon hour staring at a blank computer screen, fingers poised over the keyboard as they sweat drops of blood until words appear on the screen.

Even an honourable mention can be seen as a partial validation and the hope that, with a little more improvement, the bigger prize can be theirs.

Despite my ambivalence toward awards, what I have learned over the years is that I can’t let awards define me. I can’t let either a win justify or a loss negate my worth as a writer. Those of us who can’t not write know that awards are nice, but in the morning we’ll be back facing that blank screen, waiting for the words to fill it.

“Shifting Stats” needs to be in every Christian’s to-read pile this summer

17 Wednesday Jun 2015

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Shifting Stats cover

“Canada is home to one of the most multi-ethnic, multi-cultural, multi-religious populations on the earth and we’re facing some of the most significant upheavals in our nation’s history” reads the blurb on the back cover of Shifting Stats Shaking the Church: 40 Canadian Churches Respond.

This seemingly ominous statement belies what is both a readable and informative book that answers the question (also in the blurb) “What does this mean for Christ’s Church?”

Written by two veteran journalists (who are also colleagues and friends) Shifting Stats tells the story of how 40 different stories have responded to the changes that have taken place in their communities. Commissioned by World Vision Canada, the book crosses denominational, geographic and generational lines to give readers a sampling of the changing Canadian church landscape.

Shifting Stats Shaking the Church: 40 Canadian Churches Respond needs to be read by anyone who has an interest Canadian society and the Canadian Church.

Like Evangel Church in Gander, Newfoundland which delivers furniture to those in need. Or Kensington Commons Church in Calgary, Alberta which opened its doors to those needing to recharge their electronic devices after a major power outage. Or the podcast ministry of Shiloh University Church in Halifax. Or the Community Laundry Enterprise Assisting Neighbours (CLEAN) run by Calvary Baptist Church in Vancouver, British Columbia.

Shifting Stats isn’t meant to be a comprehensive look at the Canadian church scene. Each of the 40 short chapters – each could be read in one sitting – is a tantalizing appetizer. The “More to Explore” section and contact information on each church provide readers with the tools needed to find out more.

The experience of Stiller and Paddey as researchers, interviewers and writers shines through the book. And there’s a cohesiveness in the voice. I’m familiar with the writing styles of both and yet I’m hard pressed to figure out who wrote which chapter. This adds to the readability of the book since there isn’t a jarring change in the voice from chapter to chapter.

Shifting Stats Shaking the Church: 40 Canadian Churches Respond needs to be read by anyone who has an interest Canadian society and the Canadian Church. In other words, this needs to be in every Christian’s summer to-read pile. You’ll come away informed and intrigued by what the church is, and can, do to respond to some of the “most significant upheavals in our nation’s history.”

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To listen to the Arts Connection interview with Patricia Paddey and Karen Stiller go to http://selawministries.ca/content/arts-connection-monday-june-15-2015-patricia-paddey-karen-stiller-shifting-stats-book

Church features students’ art as part of Art in Worship ministry

10 Wednesday Jun 2015

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Phil Irish, Puddicombe - edited cropped The Art in Worship ministry at New Life Christian Reformed Church intentionally incorporates a variety of artistic expressions into its worship experience. An element of this ministry are the regular exhibits of visual art on the walls of the northeast Guelph church’s sanctuary.

“In a sense we’re crafting a multi-sensory worship worship space,” says worship ministry coordinator Nicole Ensing in a media release announcing the most recent exhibit: The Temple Project

What’s unique about The Temple Project exhibit is that it features the work of nine students in Redeemer University College’s “intermediate painting” class. Six of the students and painting professor Phil Irish (pictured above) were on hand on Sunday, June 7 for a reception following the regular worship service.

Puddicombe - edited

Redeemer University College art student Jessica Puddicombe talks about her art.

Tristan - edited

Tristan Kaarid talks about his piece “The Carpenter and the Universe”

“Their task was simple and open: reflect on the connotations of the word ‘the temple,’ and create an oil painting that brings size, materiality, imagery, and visual language to bear on the theme,” writes Irish in a brochure explaining the project.

At the reception, he expanded on that statement, describing the various techniques the students used to bring the theme to life. The students were also given a chance to describe the journey they took in creating their works.

The art is stunning. Bethany Kenyon’s abstract “Immanence” combines gold leaf and oils. Irish explained how Maria Wagler used a pour technique for “Reaching,” a work my wife said was her favourite of the exhibit.

I was particularly struck by Nathasha Van Gurp’s work “Boundless.” The deep, rich colours used in her landscape captured the vastness of God she wanted to depict.

“My portrayal of the ‘temple’ is centred on the idea that His temple exists through all of creation as everything is created by Him and done in and through Him,” Van Gurp explains in a note accompanying the painting.

I came away with a couple of take-away thoughts that morning.

First: the willingness of New Life CRC to incorporate visual art as part of its worship expression. I’ve had the chance to see the works of at least three different artists at New Life CRC and have been moved by each.

“Our goals are to integrate visual arts more purposefully into congregational worship, and to create a space to host the art of our extended community” says the exhibit brochure. This is a model other churches might be interested in exploring and replicating.

Second: the sheer joy of witnessing a new generation of artists who have responded to that divine calling to express their faith in art.

“The opportunity to show art is second only to the opportunity to glorify God,” says Tristan Kaarid in the media release. “The capacity of art to represent the godly in creation is uncanny. To me, the calling to create art is of utmost importance.”

And just as significant was the welcome of both the art and the artists by the receptive congregation.

“We’re so pleased to finally host students of the Redeemer art department,” says Ensing. “This has been a goal of ours for a number of years.”

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The Temple Project exhibit continues until June 14. For details and contact information go to www.newlifecrc.net

Has the Christian music industry died? It might be a good thing

03 Wednesday Jun 2015

Posted by in Commentary

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downhere onstagedownhere on their farewell tour in Cambridge, Ontario in August 2009 ((C) Quail Communications)

During the early to mid 1980s I had the privilege of freelancing for Alberta SonShine News, a monthly Christian newspaper distributed to churches in Edmonton, Calgary and points in between. A chance meeting with editor Peter Fleck led to a gig covering the burgeoning Contemporary Christian Music (CCM) scene. This led to interviews with almost every Christian artist who came through Edmonton including: Michael W. Smith, Barry McGuire, Armand Morales (Imperials), Georgian Banov (Silverwind), Steve Taylor, Randy Stonehill, Phil Keaggy, etc. The highlight of this period were interviews with Christian rock pioneers Larry Norman and Glenn and Wendy Kaiser (Rez Band).

Even when CCM wasn’t my main beat, I maintained an interest in Christian music as a the editor of ChristianWeek Ontario and the host of Faith Journal and Arts Connection. So I found the following analysis intriguing: http://theweek.com/articles/555603/who-killed-contemporary-christian-music-industry?utm_content=buffer824c9&utm_medium=social&utm_source=twitter.com&utm_campaign=buffer where Tyler Huckabee writes: “The descent of CCM is a reflection of America’s waning interests in Christianity as a whole. The precipitous dropoff in CCM sales has left Christian labels and artists staring into the void alongside their pastors, scratching their heads, wondering where they went wrong.”

This seems somewhat simplistic and hyperbolic. A few more significant factors have contributed CCM’s death rather than the rise of the nones, some of which Huckabee points out.

 Canada’s CCM industry has never paralleled the American CCM industry

I need to point out that Canada’s CCM industry has never paralleled the States’. There have been a few Canadians – downhere, Connie Scott, Daniel Band, Quickflight, Manafest – who have broken through the American CCM juggernaut. But some, like downhere, left the CCM industry to pursue an indie path.

Why?

First, until the 1990s, Canada didn’t have Christian radio, a key contributor to CCM’s success in the U.S. Many Canadian Christian music pioneers – Salmond and Mulder, Arlen Salte, Daniel Band, Steve Bell, etc. – toured heavily to build a fan base.

Second, Canada’s size and lack of large cities lead to mainly regional instead of national fan bases. Musicians in southwestern Ontario could travel from Toronto to Windsor and play for hundreds of church youth groups and coffeehouses. Travelling the same distance, or time frame, western Canada’s musicians had maybe dozens. Those who did gain a national fan base spent even more time on the road.

Back to the main point: I see two key reasons for CCM’s demise:

1) CCM became more of an industry than a ministry. Musicians were pressured to create music that sold, not necessarily minister. Some CCM musicians have been able to do both but the pressure to create that next hit sometimes stymied both ministry and creativity.

2) New technologies have created significant shifts in every industry, music included. The goal for most musicians had been signing the ever-elusive recording contract. Record companies would then take care of marketing and promotion while the musicians made music. With the rise of iTunes, CDbaby and myriads of other music distribution channels, musicians have become marketers, tour managers, promoters, etc. – taking all the risks but gaining all the benefits.

Has the Christian music industry died? Only in the same way the mainstream music industry has died.

Is this a good thing? I think so. The change the Christian music industry has/is going through means artists can focus on creating the music they feel called to create. Not the music dictated by an industry.