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Website – www.rozalindmacphail.com
BandCamp – http://rozalindmacphail.
Soundcloud – https://soundcloud.com/
An innovative multi-instrumentalist, Rozalind MacPhail recently won the 2016 MusicNL Award for Female Artist of the Year and 2017 ECMA Electronic Recording of the Year. A classically trained flutist based in St. John’s, Newfoundland, MacPhail fled the boundaries of classical music to create unique fabrics of sound, blending flute, electronics and field recordings through Ableton Live, and has created music for film and live performance as well as releasing several albums of original work. She explores new ways to combine image and sound, in works that speak honestly of place, person and the human experience. MacPhail’s audio-visual works have been featured at TEDx St. John’s, NewFest, Dawson City International Short Film Festival, The Banff Centre, Atlantic Center for the Arts, Canadian Flute Convention, Cucalorus Film Festival, St. John’s International Women’s Film Festival, Nickel Film Festival and countless others. http://www.rozalindmacphail.com
MacPhail’s newest audio-visual project, FROM THE RIVER TO THE OCEAN premiered at Gros Morne Summer Music and the Cucalorus Film Festival in North Carolina. It was nominated for MusicNL Instrumental Recording of the Year and won ECMA Electronic Recording of the Year. MacPhail created an album of meditation music last February for the RPM Challenge, SUNSET SUNRISE. She has been invited to perform at the 45th Annual National Flute Convention in Minneapolis this summer.
Rozalind grew up in Canada on a small group of islands nestled in the harbour of Toronto, Ontario called Toronto Island. She has lived in many parts of Canada but it was the artistically vibrant city of St. John’s, Newfoundland that stole her heart.
Following years of classical music performance training at the Etobicoke School of the Arts, University of Toronto and University of Ottawa, she has pursued her interest in a wide range of musical genres, while performing as guest flutist with other artists, including Yo La Tengo, Lou Barlow, Constantines, Great Lake Swimmers, Elliott Brood and Pick a Piper.
In 2014, HEAD FIRST, MacPhail’s collaborative audio-visual project was released at the Banff Centre and also was co-presented with St. John’s International Women’s Film Festival at St. John’s LSPU Hall. This project represents seven years of work curating and collaborating with musicians and filmmakers from across Canada. The US premiere of HEAD FIRST took place in North Carolina at the 20th Annual Cucalorus Film Festival. HEAD FIRST was nominated for an ECMA and a MusicNL Award.
From 2015 – 2016, MacPhail collaborated with Canadian film director, Ingrid Veninger, improvising a live score of original music for her award-winning feature film, HE HATED PIGEONS which has screened at film festivals worldwide.
Performance Highlights: NewFest, Dawson City International Short Film Festival, Banff Centre, Atlantic Center for the Arts, Canadian Flute Convention, Cucalorus Film Festival, Ashland Independent Film Festival, Nickel Film Festival, Atlantic Film Festival, St. John’s International Women’s Film Festival, Gros Morne Summer Music, MusicNL Week and TEDx St. John’s.
“It‘s easy to fall for the eclectic sounds of this creative mastermind, and you will probably get lost in your imagination while falling. This artist is known to base her work on the realities of life, yet the airy and poetic tones of the flute, woven throughout electronic landscapes and other sound compilations may very well guide your spirit to a magical land of your own creation.” – Pamela Hodder (Rock Eden Magazine)
“Rozalind MacPhail’s artistic aesthetic swells within the evocative strength of her music. She possesses exceptional sensibilities as pertains to the marriage of the audio and video mediums. With the flute as her constant instrument her sympathies for both mediums spurs her with a true and stoic ability to channel the humanities at the core of the central themes and messages addressed in her work. Rozalind has a genuine gift for interpreting and crafting musical odes that compliment and provocatively enshrine and enhance the poetic stories and images in both hers and others films. There is no doubting the authenticity of her role at the heart of these works. Musically, her latest project/CD favourably brings to mind the pioneering artistry of New Age labels, Windham Hill and Private Music in the 1980’s. I would strongly suggest indulging in her latest offering, “From The River To The Ocean”. Little wonder she took home Female Artist Of The Year honours at MusicNL in 2016.” – Tony Ploughman (Fred’s Records)
“One of Canada’s leading flutists in looping and live scoring for film. Her new album, FROM THE RIVER TO THE OCEAN, is a breath of fresh air. MacPhail’s passion and skill on the flute is obvious; She inspires the listener with uplifting melodies and dance-inducing grooves. MacPhail is forging new territory for musicians everywhere. I highly recommend everyone listen to this album!” – Amanda Taylor (The Flute Examiner)
“Rozalind MacPhail weaves a wicked and magical soundscape with exceptional imagination and an artistry that is both visionary and innovative.” – Viviana Guzman (The Flute View)
“Rozalind MacPhail knows no boundaries. A classically trained flutist and electro-music renegade, MacPhail has covered the length of the country playing her compositions and leaving art in her wake.” – Ken Simmons (The Telegram)
“Rozalind MacPhail, St. John’s troubadour flutist, best flute on both coasts.” Doc Pickles (Wavelength Music Series)
IN THE PRESS
The Overcast (St. John’s, Newfoundland) https://theovercast.ca/a-sneak-peak-of-rozalind-macphails-ecma-winning-audio-visual-project
CBC Radio Interview (St. John’s, Newfoundland) http://www.cbc.ca/listen/shows/st-john-s-morning-show/segment/12544064
The Telegram (St. John’s, Newfoundland) http://www.thetelegram.com/living/entertainment/2017/5/7/st–john-s-musician-rozalind-macphail-returns-from-ecmas-with-mo.html
Saltwater Stories (online publication) https://saltwaterstories.net/2017/04/27/leave-a-note-place-and-memory-in-the-music-of-rozalind-macphail/
The Overcast (St. John’s, Newfoundland) https://theovercast.ca/day-3-an-album-inspired-by-the-death-of-artist-graham-howcraft
Flute Examiner (Online Publication) http://thefluteexaminer.com/interview-canadian-flutist-rozalind-macphail
Star News (Wilmington, North Carolina) http://www.starnewsonline.com/entertainment/20161109/cucalorus-22-beyond-film—-music-performance-art-comedy-all-part-of-fest
Rogue Valley Messenger (Rogue Valley, Oregon) http://www.roguevalleymessenger.com/he-hated-pigeons-live-sounds-in-spite-of-lost-love
The Overcast (St. John’s, Newfoundland) http://theovercast.ca/rozalind-macphail-to-live-score-a-film-during-this-years-sji-womens-film-festival/
Encore (Wilmington, North Carolina) http://www.encorepub.com/head-first-into-cucalorus-artist-in-residence-rozalind-macphail-debuts-visual-album/
WILMA (Wilmington, North Carolina) http://www.wilmaontheweb.com/November-2014/November-Spotlight/
Sea and be Scene (Online Publication) http://seaandbescene.com/2013/11/rozalind-macphail-launches-her-head-first/
The Independent (St. John’s, Newfoundland) http://theindependent.ca/2013/11/29/flouting-convention-new-release-explores-flutes-films-and-the-unknown/
Sea and be Scene “The Painted Houses Project by Rozalind MacPhail” (Online Publication) http://seaandbescene.com/2011/04/the-painted-houses-project-by-rozalind-macphail/
SOCAN “Featured Artist of the Month” (Online Publication) http://www.socan.ca/jsp/en/pub/interactive/RozalindMacPhail.jsp
Independent – Rozalind MacPhail – Edgework
Review first appeared in Yorkton This Week newspaper July 23, 2008 – Yorkton, SK. Canada
Oh my, sometimes musicians just find a way to make you go wow! That’s exactly what Rozalind MacPhail accomplished on the song Tofino Kiss, the opening cut of her CD Edgework. To begin with, there was MacPhail’s voice, happy, unique, clear. It carries a sweetness which is memorable. That said, it is a voice which is enhanced by the fact MacPhail is wise enough to allow it to slip into the background. At those moments she remains central to the music, as she plays her flute. Now I will admit to my ear the flute, when handled by a fine musician, can be one of the most hauntingly beautiful instruments. In this case it is used to wonderful affect. MacPhail attended several music schools in Canada and abroad, having become both a long-term resident at the Banff Centre and an Artist-In-Residence at The Atlantic Center for the Arts in Florida, and the experience shows as her flute work obviously draws on the traditions of several cultures. The music is overall modern pop-oriented. No it’s not bubblegum sweet, but rather filled with emotion and heart, thanks to the combination of MacPhail’s voice, and the skillfully used flute, which is allowed to be an integral part of the music. Of course instrumentation is a strength here. The title song is a wonderful ride of different sounds, all put together smoothly. At times the music is haunting, like the lead in to Baba’s – Unite Us All, at other times it’s happier like on Tofino Kiss, but whichever emotion MacPhail choses to bring out with her flute, it all works. This is one of those albums which should have more musicians exploring how the flute can be incorporated into music clearly geared to a younger audience, although this CD will be appreciated by any listener with an ear for wonderful music. MacPhail does set her own course here, but it’s a journey the listener will be glad they signed on for. Check this amazing artist out at www.rozalindmacphail.com
— CALVIN DANIELS
Edgework (Independent) Monday Magazine
Aug 22 2007, Victoria
Written by Dana McNairn
Originally hailing from Toronto (via Ottawa and Banff), and now calling Victoria home, Rozalind MacPhail has quickly made a name for herself on the alt-folk scene. The self-described full-time flautist/singer-songwriter has released her first full-length album, Edgework, following the EP releases Gas Station Sessions: Seven Songs for Seven Years (2005) and Seattle Sessions: Less is More (2006). It’s Jethro Tull meets mid-1990s Ani DiFranco. MacPhail agrees with the alternative folk category, but with an “indie vibe.” Despite the classical training, MacPhail’s specialty as a flautist is more improvisational and fluid. While her songwriting on Edgework is the fairly standard shitty breakups and self-centred boyfriends, the album’s overall mood is generous and light-hearted and feels, at times, like you’re entering into a fairytale. This surely has to be because of the presence of MacPhail’s omnichord with its rich vibrato and ”wait for it”, a glockenspiel. When was the last time you heard a glockenspiel? Do you even know what a glockenspiel is? Nonetheless, the overall effect, among the acoustic and electric guitars and guest cello, electronics, banjo, marimba and sax (among other instruments) is playful and at times whimsical (“Letting You Go” or “Early Morning Montreal”), at times bittersweet (“Icicles”) or funky (as in the bass line in “Baba’s-Unite Us All”). Instrumental tracks are also interspersed throughout this 12-song debut, adding to the splendid soundscapes.