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CD Review
Rozalind MacPhail - Edgework
Independent
9-out-of-10

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

Monday Magazine
Aug 22 2007, Victoria
Written by Dana McNairn

Edgework (Independent)

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.