Music

• Appetizers
• Cash Bar
• Q&A with Scott Kress

Tickets are free for ORMTA Members and are available for $10.00 (cash only) at the door.

1. The Woman
2. Girl's Gotta Do
3. Hooked Your Heart
4. Bigger Than You
5. Mercy
6. Clumsy Heart
7. Cage Without A Key
8. Love Is
9. Hold On

1. The Woman
2. Girl's Gotta Do
3. Hooked Your Heart
4. Bigger Than You
5. Mercy
6. Clumsy Heart
7. Cage Without A Key
8. Love Is
9. Hold On

JRLMA presents A Taste of Sinatra at The Aeolian!

A look into the songbook of Ol' Blue Eyes performed by Scott Bollert & The Jazzman Orchestra with Conductor John Brocksom.

After The Lounge's lead vocalist Scott Bollert delivers a powerhouse performance, with familiar London bandmates, in a genre that is perfect for his strong, confident voice - Jazz!  Scott's infectious personality and professionalism are the keys to the entire production, so make sure you catch this fun-paced, cooler-than-cool show when he and his band are playing in your area.

Join us for A Taste of Sinatra “My Funny Valentine” a look at the great songbook of the legendary, Frank Sinatra!

The Jazzman Band 7 piece orchestra is lead by award winning frontman, Scott Bollert and features music conductor/keyboardist John Brocksom.  The group celebrates the unique styling’s of the iconic crooner with many of the recognizable hit after hits such as New York, New York, That’s Life and My Way!

A must see show that is great for all the ages with timeless music don’t miss out, get your tickets today!

Growing up in Merlin, Ontario, a small Canadian farming community near Chatham, Michelle heard the rhythm & blues and Motown hits coming out of Detroit, just forty‐five minutes away. But especially she heard the strains of country music, since her parents were both country performers. “My earliest memories of music are singing in the car, or spending the weekend with my father after my parents separated and watching him put on a rhinestone‐studded suit to perform in.” As a young girl, she tagged along on countless jobs. “We never were a family band, but I got a lot of inspiration and encouragement from my mother. That’s where my love of country music really began.” After a year of college, studying counseling for the mentally disadvantaged, Michelle set off to tour North America. By 1988, she had released an album in Canada, Do Right By Me, on Savannah Records. Do Right By Me was a major hit in her homeland, with 7 chart singles and sales well over 40,000 copies, and it opened many doors in the United States. The American country music world was impressed, and the new Arista/Nashville label made Michelle one of its flagship artists.

The unquestionable highlight of 2013 for Michelle was the release of her latest album, Strong. Capturing better than ever her distinctive style and expressive voice, Strong showcases Michelle’s remarkable growth as a singer and songwriter ‐ inspired by the perseverance and strength that she has witnessed in friends, family and strangers over the years. Recorded in Ontario and Nashville, the album was produced by Jason Barry (Dean Brody, Terri Clark, Jason Blaine), Eric Silver (Neal McCoy, Ricochet) and Danick Dupelle (Emerson Drive). Michelle’s passion for songwriting has grown with this newest project, for which she co‐wrote 10 of its 11 songs.

“I created this record with a group of friends I admire as writers, singers and producers. We had a lot of fun,” says Michelle. “The songs are a collection of my observations about life and the people around me and how we’re all just stumbling through it. At times there is laughter and joy; at other times, pain and disappointment. Overall, I hope this record is inspiring and relatable to my fans.”

Michelle’s renewed career vigor has not gone unnoticed by her peers, who in 2012 and 2013 nominated her for consideration as the Canadian Country Music Association’s Female Artist of the Year(an award she has won five times previously). She travelled to Saskatchewan to participate in the 2012 CCMA Awards celebration which aired live from Saskatoon on CBC on Sunday, September 9, and helped kick off the Awards Show telecast live from Edmonton in 2013.

Joining Michelle for a welcome trip to the 2012 CCMAs was her proud hubby of eleven years, Marco Convertino. Since marrying Marco in April, 2002 (the first marriage for both), Michelle’s personal life is as satisfying as her professional career, and the future continues to look unquestionably “Wright.”

Wide Awake Dreamin’, the title of The Good Brothers new album, aptly conveys how the brothers feel as they reflect on decades of writing, recording and performing music together.

In 1970 twin brothers Bruce and Brian Good of Richmond Hill, Ontario, met James Ackroyd from Winnipeg, Manitoba and formed a band simply called James and The Good Brothers. Their first show was with Grand Fund Railroad at Maple Leaf Gardens in Toronto. Then came the cross Canada tour on the outrageous Festival Express with such artists as The Grateful Dead, Janis Joplin, Ian & Sylvia, Ten Years After, Traffic and The Band just to name a few. With a little help from friends The Grateful Dead and Jefferson Airplane, they recorded their first album on Columbia records. What excitement – the nights at the renowned Troubadour in West Hollywood, the gigs at San Francisco’s famed Fillmore West and Winterland Ballroom with The Grateful Dead, Jefferson Airplane, Quicksilver Messenger Service, and the New Riders of The Purple Sage.

Later, James would choose to remain in the U.S. while the brothers returned home to Canada and recruited younger brother Larry. This was 1973 and would be the beginning of a wonderful musical trip… The Good Brothers. Their first gig was the legendary Toronto club The Riverboat, on May 14, 1974. They played simple, straight from the soul music that encompassed country, bluegrass, folk, Celtic and the occasional taste from their rock & roll songbook. Highlighted by Larry’s fiery banjo breaks, Bruce’s award winning autoharp styles, Brian’s guitar finger picking and their unique sibling harmonies, they produced enough energy to burn down the barn.

It wasn’t long before The Good Brothers were packing Toronto’s fabled El Mocambo five nights a week; breaking bar records, attendance records and exhausting determined dancers. Then there were eight straight Juno awards for Best Country Group, and headline gigs at Toronto’s Massey Hall and Roy Thompson Hall, The National Art Centre in Ottawa and the weeks at L.A.’s Universal Amphitheatre with their mentor Gordon Lightfoot. There was even a certified gold self-titled double album.

They kept the flame glowing, and the music flowing through out the 80’s and 90’s and beyond. Canada’s musical soundtrack, through all those years, included The Good Brothers.

In 2004 they were honoured by being inducted into the Canadian Country Music Hall of Fame as well as two nominations for Country Group and Roots Artist of the year at the Canadian Country Music Awards. In 2015 they received a “Lifetime Achievement Award” from the Toronto Musicians Association and in 2016 were inducted into the North American Country Music Association International Hall of Fame in Tennessee.

This year The Good Brothers are off to Europe again, marking their 39th tour on the other side of the Atlantic. To see the brothers live is an experience not to be missed. The music, intertwined with side splitting stories and song introductions are said to be as entertaining as their songs.

Today the warm family harmonies are still there on their sixteenth recording titled “Wide Awake Dreamin”. Their music lives on and the songs still come straight from their hearts to your tapping toes and the smile on your face.

Throughout her musical career, songwriting has been an integral a part of Patricia’s success. From her debut album Blue Angel where she wrote many of the tracks, it became apparent songwriting was in her blood. Crafting hits like “Direction of Love”, “Keep Me Rockin”, “Bad Day for Trains”, “I Don’t Wanna Be the One”, and many more.

Lately Patricia has been writing with many of Canada’s brightest country stars like  Meghan Patrick, Michelle Wright, Jimmy Rankin, Emerson Drive, Bobby Wills, Chad Brownlee, Smalltown Pistols, Jessica Mitchell, Aaron Pritchett, Beverley Mahood, Leah Daniels, and Tebey – to name a few…

Aaron Pritchett’s legacy continues to be unstoppable.  His authentic desire to connect with his fans, whether it be onstage, via his digital platforms, in person or through his music, has sustained and grown a robust and loyal fan base for well over a decade.  Artistically, Aaron Pritchett continues to adapt, and evolve, while refusing to abandon the down-home sincerity in his music that has been his trademark since his career inception.   Pritchett has charted anthems like “Dirt Road In Em, “Let’s Get Rowdy,” “Hold My Beer (Certified GOLD),” and also appealed to the softer side with powerful hits like “Done You Wrong,” and his recent top 5 smash – “When A Momma’s Boy Meets A Daddy’s Girl.”

“Country Music always appealed to my soul because the songs tackled subject matter that may have been taboo for other formats and told REAL stories about REAL people. Those stories were a lot like mine. I was going fishing, camping, and riding buses to hockey tournaments in even smaller towns than the one I grew up in, life was a lot more country than rock and roll. That feeling resonated with me and I strive to convey that in my music to this day”.

“The Score” released shortly after Aaron Pritchett opened multiple SOLD OUT shows for Garth Brooks, hit the market on June 24th, 2016 and debuted at #1 Canadian on the country charts. The first single “Dirt Road In ‘Em” broke industry paradigms by landing inside the top #10 on the country radio singles chart, marking Aaron’s first return to the Top 10 in over 8 years.  The sophomore single, “Out Of The Blue” scored a top 15 spot at radio in November 2016, and the aforementioned “When A Momma’s Boy Meets A Daddy’s Girl,” landed at #5 on the Canadian country singles chart and was the #1 most played Canadian track – as well!

Recently, the industry has caught on to what the fans have always known – which is that Aaron Pritchett belongs in the pantheon of Canada’s most elite artists.   In 2017, Pritchett was welcomed back to the nomination circles with a Juno nom for Country Album of the Year, as well as multiple CCMA Award nominations, including Male Artist of the Year!   Pritchett’s current single “VW Bus” was the most added single at radio its week of release, as the unprecedented story continues to roll on!

You hear it a lot these days – the idea that something is greater than the sum of its parts – and yet there’s really no better way to describe the musical essence of the Good Lovelies. Kerri Ough, Sue Passmore, and Caroline Brooks – immensely talented vocalists and songwriters in their own right; however, it’s their voices interwoven in harmony – powerful and pure, organic and inspiring – that elevates the Good Lovelies from impressive to peerless. Over the course of their decade-plus career, they’ve covered plenty of stylistic ground, adding tinges of pop, roots, jazz, and even hip-hop to their country folk core at various points.

The trio first united in 2006 for a one-off performance and has since compiled a catalogue of four studio albums, a pair of EPs, a live album, and Christmas collection. Through it all, the unmistakable sound of their intertwined voices has been the sonic anchor, and that remains true as the Good Lovelies now push further into the mainstream with their most accessible and pop-influenced output to date, Shapeshifters.

“Pop isn’t just pop anymore,” muses Brooks. “There are so many different influences and styles and layers working their way into pop music, and I think that’s opened up doors for us, creatively speaking.”

Their newest collection offers a perfect balance between a more modern production style and the musical influences that have made them a household name over the years. What’s more, the songs themselves build on the Good Lovelies’ familiar foundation with a widespread appeal.

“But that wasn’t really a conscious decision,” says Ough, of the more mainstream leanings of their new album. “We just let each other write what we wanted to write and bring ideas to the table and, as usual, went with what was strongest.”

Therein lies another pillar of the Good Lovelies’ charm – songs that are born of singularity but then brought into the collective fold. These are three individuals from different places at different stages of their lives bringing their barest and purest perspectives into a communal setting, and that was particularly emphasized with Shapeshifters.

“The pre-production sessions this time around were more private than with previous albums and that was intentional,” says Passmore. “It was the three of us in a room, going through all of our ideas together with no distractions. Everything got attention in the collective space, so I think we feel a different kind of ownership over these songs. Everything came through us.”

It’s an approach that keeps the music and lyrics ever evolving but also entrenched in an ongoing sonic cohesion. In short, no matter what they’re singing about or how, the product is purely the Good Lovelies – and as far as they’re concerned, that’s critical. “We’ve got an incredibly devoted group of fans that have been with us for years,” offers Brooks, “so even though we reached into new places with these songs, we’re still focused on doing right by them.”

Even though the lyrics typically stem from the individual members, there are still overarching themes connecting the different cuts and presenting a unified vision. Some of the songs explore relationships with family and friends – sometimes through a lens of love and others through one of struggle. Others deal with looking for light in dark situations or dark times, and while that at times flirts with social or political commentary, it’s never overt or overindulgent. And even when those themes are at their darkest, Ough says, “There’s always love or hope somewhere in the background.”

Both lyrically and musically, Shapeshifters is very much a snapshot of a specific time in the lives of these three musicians. “Every time we come around to a new record, there’s an evolution, because we’re all at new points in our lives.” Passmore says. “But even then, the music on this record has come out of the three of us in a way that it really hasn’t before, and that’s exciting and invigorating.”

If what happens next goes according to plan, though, the Good Lovelies will see their profile propelled to new heights thanks to a contemplative creative approach and a new spin on the signature sound that’s earned them audiences and accolades the world over. The music, the album, and the trio – all are greater than the sum of their individual parts. Simply, that’s the Good Lovelies.

"Shapeshifters is a brilliant album and, in a sense, the beginning of a new chapter in the musical life of the Good Lovelies.” -- Spill Magazine

"rhythms here sway and swing like a Bahamas record (check out Take Me, Take Me or Pulse and Flatline) and the richly textured vocal treatments at times recall the work of Pierre Marchand and Sarah McLachlan.” -- Winnipeg Free Press

Now in its 23rd season, the Canadian Celtic Choir is a London-based SATB choir of more than fifty voices that was founded in 1996 to sing and promote Celtic choral music and culture in Southwestern Ontario. The CCC has built a solid reputation as one of the most in demand choirs in this area. Since 2010 we have been led by conductor William “Bill” Zadorsky and accompanied by Jean Willadsen on piano. Our vocal coach, alternate conductor and emcee is Paul Grambo.

The Canadian Celtic Choir won the Best Classical Vocal Group category of the London Music Awards in both 2008, 2009, and 2010. In 2010 the CCC was inducted into the London Music Awards Hall of Fame. In 2012 we were nominated for the Most Popular Classical Choir at the 2012 Forest City London Music Awards and won the award in 2015. Also, we received the Mayor’s Award from the City of London for our cultural contributions.

The CCC’s repertoire features songs primarily from Ireland, Scotland, England, Wales, and the Canadian Maritimes ranging from the traditional to the more contemporary. Recently we have commissioned exclusive arrangements of fifteen songs by London’s own Jeff Christmas including iconic compositions such as “Pier 21” by John Wort Hannam, “Christmas in the Trenches” by John McCutcheon, and “Sonny’s Dream” by the late Ron Hynes.

The CCC has performed at the Canada Summer Games, Windsor Celtic Festival, Goderich Celtic Roots Festival, Owen Sound Celtic Festival, Fergus Highland Games, Home County Music & Art Festival (London, ON), Canterbury Folk Festival (Ingersoll), Fieldcote Summer Music Series (Ancaster), Lighthouse Theatre (Port Dover), Wolf Performance Hall (London, ON), and several times with Orchestra London Canada (now known as London Symphonia). We have performed with the Men of The Deeps, The Irish Descendants, John McDermott, Lighthouse, Denise Pelley, Jeans ‘n’ Classics, and John Tesh.

In March 2008, the choir travelled to Maui, Hawaii for our first international tour. In July 2014, the choir toured Scotland and England for 10 days singing in historic venues such as Stirling Castle, St. Giles Cathedral in Edinburgh, the Robert Burns Museum in Ayr, and at the Church of the Holy Trinity, Stratford-upon-Avon where Shakespeare is buried. In June of 2017 the choir toured the Canadian Maritimes with stops in Moncton, Norton, Charlottetown, Cornwall, Baddeck and Halifax (where we sang the National Anthem for the Citizenship Ceremonies at Pier 21 on Canada Day). Our next tour is planned for 2020 when we will visit Ireland.

The Canadian Celtic Choir is a London-based SATB choir of more than fifty voices and was founded in 1996 to sing and promote Celtic choral music and culture in Southwestern Ontario. The Choir has provided the city of London and surrounding communities with high-quality choral music for more than 20 years and has built a solid reputation as one of the most in-demand choirs in this area. Since 2010 the CCC has been conducted by William “Bill” Zadorsky and accompanied by Jean Willadsen on piano. The choir’s repertoire features songs primarily from Ireland, Scotland, England, Wales, and the Canadian Maritimes ranging from the traditional (including a few songs sung in Irish, Gaelic and Welsh) to the more contemporary. The CCC has played many of Ontario’s most popular music festivals and has toured Hawaii (2008), England & Scotland (2014), and the Maritimes (2017). The Choir has opened for the Men of The Deeps, The Irish Descendants, John McDermott, Lighthouse, John Tesh, and many others. In 2010 the CCC was inducted into the London Music Awards Hall of Fame. In 2015 the CCC won the Jack Richardson London Music Award for Most Popular Classical Choir. The Canadian Celtic Choir has released five CDs, Here’s To Song (2001), Christmas Remembered (2004) and We Rise Again (2007) which are all out of print. The two most recent CDs are: A Celtic Noel (2013), and Celtic Inspiration (2014). More info at celticchoir.ca.