The Signal with Pat Carrabré- Friday May 2, 2008
Tonight polish up your dancing shoes because Pat takes a look at the roller coaster ride that is the career of MOBY. In concert from Vancouver’s GUITARS! GUITARS! Festival, an epic piece by Nicolas Bragg - The Burial of Count Orgaz: 2 guitars, loops and enough affects pedals to sink a small tugboat. Pat also peels the wrapping off a few fresh CDs and spins some Sadoceanspacebear, Animal Collective, Baby Dee, Destroyer and more.
The Signal with Pat Carrabré - Saturday, May 3, 2008
This evening Pat slips Matt Haimovitz’s new CD - Vinyl Cello into high rotation- five tracks from this former child prodigy and now Canadian resident. In concert great imrov from the Ottawa Jazz Collective with work from Yves Martel, Petr Cancura, Michael Fahie and Mike Essoudry. And still there is time for new music from Montreal’s Islands, Toronto’s Pony Da Look, Wolf Parade and Woelv.
The second question for The Jesus and Mary Chain catalogue contest is: What festival did The Jesus and Mary Chain reunite for in 2007? Answer last weeks question and this one and send your answers to TheSignal@cbc.ca.
Wishstick
The Signal with Pat Carrabré - Sunday, May 4, 2008
In cahoots with the Music Monday celebration tonight Pat pulls out his inner child, takes a time out and then spins music by, for and about the kids. The Gryphon trio, Kara Keith, Laura Barret and Oliver Knussen’s Children’s opera for Sendack’s classic- Where the Wild Things Are. In concert it is an evening of protégées when The Signal heads to Toronto for a celebration of Montreal composer Michel Gonneville and his exceptional students.
For more information on the Ondes martinot go here
Tuesday, April 29, 2008
Thursday, April 24, 2008
Where to from here?
Is classical music dead? And if it is, where does that leave “new classical music?” Last week, the concept of “post-classical” music came up in my blog entry. That’s the idea that it’s more or less impossible to keep the so-called traditions of any classical music alive in our time. I say so-called because most of our western concert music traditions aren’t really “classical.” They came into being during the early part of the 20th Century and we just think they’re written in stone. Even in Chopin’s time, the audience would clap between movements – try doing that at a Symphony concert and you’re likely to get shushed.
A big disconnect has developed between the non-commercial music of our time and the ever growing audience of culturally aware people who should be its natural audience.
On Sunday night’s show, I’m playing Tim Brady’s Dark Matter (Primal Pulse). It’s from his new CD with the Australian group Topology. They’ve been actively involved in defining this evolving concept of “post classical” in what they do and the American group Eighth Blackbird have also jumped onboard with the concept. Writers like Kyle Gann, Greg Sandow, Joseph Horowitz and Stephen Brookes have written about it and DePauw University even offered a Symposium on the subject last year.
A lot of the ideas seem to focus on changing the concert experience. Musicians are trying to make it more engaging and sometimes even interactive. There might be open discussions, multimedia (live video or film), a blending of music from different genres and some kind of conceptual intellectual hook. Tan Dun’s The Map is a good example. Canadian groups like the Art of Time Ensemble and Numus often program this way. On the other side of the equation, Indie/Alternative folk like PJ Harvey and Johnny Greenwood list living “classical” composers among their influences.
In working with musicians from different traditions, I’m usually struck by how hungry we all are for good new music. The sky may be falling on some traditional ways of presenting music, but I think the audience potential is much bigger than it ever has been before. But we all need to work together to share the great music we find and to help define new ways to find our audience. I hope that The Signal is becoming your go-to place to find interesting links between styles and across genres.
A big disconnect has developed between the non-commercial music of our time and the ever growing audience of culturally aware people who should be its natural audience.
On Sunday night’s show, I’m playing Tim Brady’s Dark Matter (Primal Pulse). It’s from his new CD with the Australian group Topology. They’ve been actively involved in defining this evolving concept of “post classical” in what they do and the American group Eighth Blackbird have also jumped onboard with the concept. Writers like Kyle Gann, Greg Sandow, Joseph Horowitz and Stephen Brookes have written about it and DePauw University even offered a Symposium on the subject last year.
A lot of the ideas seem to focus on changing the concert experience. Musicians are trying to make it more engaging and sometimes even interactive. There might be open discussions, multimedia (live video or film), a blending of music from different genres and some kind of conceptual intellectual hook. Tan Dun’s The Map is a good example. Canadian groups like the Art of Time Ensemble and Numus often program this way. On the other side of the equation, Indie/Alternative folk like PJ Harvey and Johnny Greenwood list living “classical” composers among their influences.
In working with musicians from different traditions, I’m usually struck by how hungry we all are for good new music. The sky may be falling on some traditional ways of presenting music, but I think the audience potential is much bigger than it ever has been before. But we all need to work together to share the great music we find and to help define new ways to find our audience. I hope that The Signal is becoming your go-to place to find interesting links between styles and across genres.
April 25, 26, 27
The Signal with Pat Carrabré- Friday April 25, 2008
The Signal takes a whirlwind gander at music inspired by all those great big cities that speckle our planet. Pat will spin music from the likes of Gonzales, Antoine Berthiaume and Tim Brady. In Concert the crackle and pop of Vancouver’s piano driven Attics and Cellars will entertain. If all this leaves you far to cheery, hold up- Pat will also be sharing an in-depth listen to the music of siren PJ Harvey.
The Signal with Pat Carrabré - Saturday, April 26, 2008
Tonight in high rotation Pat will sample the music of Ottawa’s neo folkys Muskox. Our concert will take us to Prince Edward Island for an incredible musical experience featuring Kiran Ahluwalia and the saxophone of Mr. Danny Oore. The hype will also get under way for a massive loot-bag give away: one artist’s entire catalogue(think dark clouds + late 80s), earplugs optional. There will also be music from “Will the Circle”, DBR and Goldfrapp.
PRIZE ALERT:
And the question is- What band did Bobby Gillespie form after leaving Jesus and Mary Chain. This is part one of two questions- one this week and one next week, since the prize is so massive: The Jesus and Mary Chain catalogue, yup you read right.
The Signal with Pat Carrabré - Sunday, April 27, 2008
Tonight in concert Pat pulls out the cocktail shaker and pours a round of the effervescent Esprit Orchestra: with Claude Vivier, Philip Cashian and Doug Schmidt. Later in the evening, fresh from a secret marinade, Pat dishes out some prime cut samplings from the International Rostrum of Composers; this week from Austria, Germany and Italy. Plus there will be fireworks from Veda Hille, Andrew Bird and Son Lux.
The Signal takes a whirlwind gander at music inspired by all those great big cities that speckle our planet. Pat will spin music from the likes of Gonzales, Antoine Berthiaume and Tim Brady. In Concert the crackle and pop of Vancouver’s piano driven Attics and Cellars will entertain. If all this leaves you far to cheery, hold up- Pat will also be sharing an in-depth listen to the music of siren PJ Harvey.
The Signal with Pat Carrabré - Saturday, April 26, 2008
Tonight in high rotation Pat will sample the music of Ottawa’s neo folkys Muskox. Our concert will take us to Prince Edward Island for an incredible musical experience featuring Kiran Ahluwalia and the saxophone of Mr. Danny Oore. The hype will also get under way for a massive loot-bag give away: one artist’s entire catalogue(think dark clouds + late 80s), earplugs optional. There will also be music from “Will the Circle”, DBR and Goldfrapp.
PRIZE ALERT:
And the question is- What band did Bobby Gillespie form after leaving Jesus and Mary Chain. This is part one of two questions- one this week and one next week, since the prize is so massive: The Jesus and Mary Chain catalogue, yup you read right.
The Signal with Pat Carrabré - Sunday, April 27, 2008
Tonight in concert Pat pulls out the cocktail shaker and pours a round of the effervescent Esprit Orchestra: with Claude Vivier, Philip Cashian and Doug Schmidt. Later in the evening, fresh from a secret marinade, Pat dishes out some prime cut samplings from the International Rostrum of Composers; this week from Austria, Germany and Italy. Plus there will be fireworks from Veda Hille, Andrew Bird and Son Lux.
Friday, April 18, 2008
I just can’t see the CBC as a big museum for European culture.
I never could resist controversy, so it’s time for my second instalment on the classical versus “post-classical” controversy at CBC (I’ll leave the concept of post-classical for a later blog entry). Today’s Winnipeg Free Press (April 18, 2008) features an editorial in which my name appeared rather prominently.
William Neville has been writing about the impending program changes at CBC. He’s not happy! Now, I haven’t actually spoken to Mr. Neville, he’s referring to some brief comments attributed to me in the Free Press last Saturday. I spoke to columnist Morley Walker when a small group gathered out front of the CBC building here in Winnipeg. I went out to talk to a few friends and ended up chatting with Morley for a few seconds.
I should probably back track a bit. I am a composer of what we might call “new classical music” – whatever that means. I have a Ph.D. in Music, so I’m at least not uninformed about the history of music – although what we learn at University is almost exclusively the history of “western art music.” I can discuss the great masters of western music history and I do love the music. But! And I’m talking a big BUT, the last few years have brought me to a very different place in my thinking about where music is going. This all started with a piece I wrote for Katajjaq singers and orchestra. It was the first piece I was asked to write for the Winnipeg Symphony Orchestra when I became their Composer-in-Residence. At first I didn’t want to write the piece, but after I did a bit of thinking, I came to the conclusion that it was an incredible opportunity – one I shouldn’t pass up just because I felt a little out of my element.
It was a life altering experience. I worked with two wonderful singers from Rankin Inlet (Pauline Pemik and Inukshuk Aksalnik). The piece eventually became a “recommended work” at the International Rostrum of Composers and it broadcast in many countries around the world (incidentally, we’ve been playing works from last year’s Rostrum on The Signal on Sunday nights – around midnight).
Pauline and Inukshuk come from a musical tradition that was almost stamped out when Southerners (dare I say white Christian clergy?) forbid the Inuit their traditional customs. But there’s now a younger generation who have learned this incredible style of singing (mostly from their grandparents) and they are taking it to the world. Tanya Tagaq is probably the best known in popular music circles – as she’s performed all over, including a recent project with the Kronos Quartet.
This whole experience made me realize two things. The first was that you can’t freeze a tradition in time. If an art form is going to remain vital it has to change. The second was that my view of the musical world was painfully small. I kind of knew that already, but this experience forced me to deal with it. Since that time, I’ve worked on several large pieces that brought together musicians from different cultures and my idea of what music should be in our time has changed dramatically.
So back to the changes at CBC. Western classical music stands among the greatest achievements of humankind. The new programming at CBC will continue to keep that traditional alive and available – nobody has said it’s going away. However, we need to make room for the music of our time and our country. This is really important and it is far easier for an audience to access quality recordings of classical music than it is to find out what is being created in our country – beyond those artists who have the support of the commercial music industry.
I hope that music lovers will find the new CBC format to be the perfect place to hear good music – no matter what genre or historical period. Take this Sunday night’s show on The Signal for example. We’re celebrating the 75th birthday of Canada’s best known composer, R. Murray Schafer and we’re putting the music of Quebec cellist and indie-rock sensation Jorane up close to Vancouver composer Mark Armanini’s Dance of Many Colours. It features traditional Vietnamese instruments mixing with a Western “classical” orchestra.
William Neville has been writing about the impending program changes at CBC. He’s not happy! Now, I haven’t actually spoken to Mr. Neville, he’s referring to some brief comments attributed to me in the Free Press last Saturday. I spoke to columnist Morley Walker when a small group gathered out front of the CBC building here in Winnipeg. I went out to talk to a few friends and ended up chatting with Morley for a few seconds.
I should probably back track a bit. I am a composer of what we might call “new classical music” – whatever that means. I have a Ph.D. in Music, so I’m at least not uninformed about the history of music – although what we learn at University is almost exclusively the history of “western art music.” I can discuss the great masters of western music history and I do love the music. But! And I’m talking a big BUT, the last few years have brought me to a very different place in my thinking about where music is going. This all started with a piece I wrote for Katajjaq singers and orchestra. It was the first piece I was asked to write for the Winnipeg Symphony Orchestra when I became their Composer-in-Residence. At first I didn’t want to write the piece, but after I did a bit of thinking, I came to the conclusion that it was an incredible opportunity – one I shouldn’t pass up just because I felt a little out of my element.
It was a life altering experience. I worked with two wonderful singers from Rankin Inlet (Pauline Pemik and Inukshuk Aksalnik). The piece eventually became a “recommended work” at the International Rostrum of Composers and it broadcast in many countries around the world (incidentally, we’ve been playing works from last year’s Rostrum on The Signal on Sunday nights – around midnight).
Pauline and Inukshuk come from a musical tradition that was almost stamped out when Southerners (dare I say white Christian clergy?) forbid the Inuit their traditional customs. But there’s now a younger generation who have learned this incredible style of singing (mostly from their grandparents) and they are taking it to the world. Tanya Tagaq is probably the best known in popular music circles – as she’s performed all over, including a recent project with the Kronos Quartet.
This whole experience made me realize two things. The first was that you can’t freeze a tradition in time. If an art form is going to remain vital it has to change. The second was that my view of the musical world was painfully small. I kind of knew that already, but this experience forced me to deal with it. Since that time, I’ve worked on several large pieces that brought together musicians from different cultures and my idea of what music should be in our time has changed dramatically.
So back to the changes at CBC. Western classical music stands among the greatest achievements of humankind. The new programming at CBC will continue to keep that traditional alive and available – nobody has said it’s going away. However, we need to make room for the music of our time and our country. This is really important and it is far easier for an audience to access quality recordings of classical music than it is to find out what is being created in our country – beyond those artists who have the support of the commercial music industry.
I hope that music lovers will find the new CBC format to be the perfect place to hear good music – no matter what genre or historical period. Take this Sunday night’s show on The Signal for example. We’re celebrating the 75th birthday of Canada’s best known composer, R. Murray Schafer and we’re putting the music of Quebec cellist and indie-rock sensation Jorane up close to Vancouver composer Mark Armanini’s Dance of Many Colours. It features traditional Vietnamese instruments mixing with a Western “classical” orchestra.
Wednesday, April 16, 2008
A Canadian Music Network
Last week I waded into the debate about classical versus non-classical on the CBC. The quote in the Winnipeg Free Press was a bit out of context, but not much. I said something like “if you want to listen to the dead German guys, you can buy a CD.” Don’t get me wrong, I love the dead German guys. But I think our public broadcaster should be the place where Canadians can hear Canadian music.
In the early days of the New Music Festival in Winnipeg, I remember Glenn Buhr asking a bunch of us if we knew all of R. Murray Schafer’s String Quartets. They were still difficult to get hold of in those days, so most of us hadn’t heard them all. Glenn’s point was that it’s almost impossible to come up with a shared musical identity if you don’t even share a core repertoire as a reference.
So when this debate started, I had to decide if my allegiance was more to the European art music tradition or to the rest of Canada’s musicians who create new music – no matter what the genre. We’re not really talking about commercial music, but I’m sure some of that will find its way onto our airwaves as its own kind of reference point.
It’s still too early to know what the new shows will be like, but my experience with The Signal is that there is a jaw dropping diversity in Canadian music. There are so many great acts out there – like The National Parcs, Veda Hille, Inhabitants, Shout Out Out Out Out, John Kameel Farah, vitaminsforyou, Woodhands (who I just saw last night!), and the list goes on. I think that Canadians should have a national radio service where they can share Canadian music – in all its forms.
The dead German guys are great, but you will still be able to hear their music on CBC – and you can buy their CD’s way more easily!
In the early days of the New Music Festival in Winnipeg, I remember Glenn Buhr asking a bunch of us if we knew all of R. Murray Schafer’s String Quartets. They were still difficult to get hold of in those days, so most of us hadn’t heard them all. Glenn’s point was that it’s almost impossible to come up with a shared musical identity if you don’t even share a core repertoire as a reference.
So when this debate started, I had to decide if my allegiance was more to the European art music tradition or to the rest of Canada’s musicians who create new music – no matter what the genre. We’re not really talking about commercial music, but I’m sure some of that will find its way onto our airwaves as its own kind of reference point.
It’s still too early to know what the new shows will be like, but my experience with The Signal is that there is a jaw dropping diversity in Canadian music. There are so many great acts out there – like The National Parcs, Veda Hille, Inhabitants, Shout Out Out Out Out, John Kameel Farah, vitaminsforyou, Woodhands (who I just saw last night!), and the list goes on. I think that Canadians should have a national radio service where they can share Canadian music – in all its forms.
The dead German guys are great, but you will still be able to hear their music on CBC – and you can buy their CD’s way more easily!
Tuesday, April 15, 2008
April 18, 19, 20th
First off don't forget Record Store Day this Saturday. head out to your local indie record store and buy some, hold-in-your-hand, sweet CDs or vinyl.
The Signal with Pat Carrabré- Friday April 18, 2008
Tonight on the Signal the premier of a new piece performed by pianist Marilyn Lerner in concert with Halifax’s Upstream Ensemble. Pat will also explore the musical career one of the most eclectic composers out there today - Osvaldo Golijov [Goalie – hov]. Plus sweet sounds from Sandro Perri, toy piano tinkling by Margaret Leng Tan, a Caribou remix and something from the new Erykah Badu CD.[Erica Badoo]. So put on your thinking caps.
Here is the link to the SXSW music file and here is the link to LOOPER
The Signal with Pat Carrabré - Saturday, April 19, 2008
Tonight on the Signal Pat takes the new Woodhands recording for a spin, wonders if he is a very good dancer and ends up offering up some copies of the CD as prizes in the Loot-Bag give away. Then batten down your hatches, when Pat heads out to Vancouver for a concert featuring the wild sounds of Vancouver’s Fond of Tigers. All this plus Montreal’s Inuit spoken word artist Taqralik Partridge.
The Signal with Pat Carrabré - Sunday, April 20, 2008
Tonight on The Signal’s Soundtrack Sunday, music by Radiohead’s Johnny Greenwood in the brutal film “There Will Be Blood”. In concert there will be Snowmobiles and orchestra when R. Murray Shafer’s works are featured including his very precise piece “ No Longer Than Ten Minutes”. Pat will also play compositions inspired by the wind, so hold on tight.
The Signal with Pat Carrabré- Friday April 18, 2008
Tonight on the Signal the premier of a new piece performed by pianist Marilyn Lerner in concert with Halifax’s Upstream Ensemble. Pat will also explore the musical career one of the most eclectic composers out there today - Osvaldo Golijov [Goalie – hov]. Plus sweet sounds from Sandro Perri, toy piano tinkling by Margaret Leng Tan, a Caribou remix and something from the new Erykah Badu CD.[Erica Badoo]. So put on your thinking caps.
Here is the link to the SXSW music file and here is the link to LOOPER
The Signal with Pat Carrabré - Saturday, April 19, 2008
Tonight on the Signal Pat takes the new Woodhands recording for a spin, wonders if he is a very good dancer and ends up offering up some copies of the CD as prizes in the Loot-Bag give away. Then batten down your hatches, when Pat heads out to Vancouver for a concert featuring the wild sounds of Vancouver’s Fond of Tigers. All this plus Montreal’s Inuit spoken word artist Taqralik Partridge.
The Signal with Pat Carrabré - Sunday, April 20, 2008
Tonight on The Signal’s Soundtrack Sunday, music by Radiohead’s Johnny Greenwood in the brutal film “There Will Be Blood”. In concert there will be Snowmobiles and orchestra when R. Murray Shafer’s works are featured including his very precise piece “ No Longer Than Ten Minutes”. Pat will also play compositions inspired by the wind, so hold on tight.
Wednesday, April 9, 2008
April 11, 12, 13 - East Coast Weekend
The Signal with Pat Carrabré- Friday April 11, 2008
Tonight is the first night in The Signal’s east coast weekend extravaganza. Lobster free. Halifax’s Jill Barber joins forces with the Symphony Nova Scotia in a heart trembling concert. Pat will spin music from The Just Barelys, the St John String Quartet, Danny Oore and the genius that is the Lost Wax Guild. Pat will also feature the Peanuts to improv career of drummer Jerry Granelli.
The Signal with Pat Carrabré - Saturday, April 12, 2008
It is flutes not fiddles tonight when The Signal continues its East Coast weekend. Buck 65 performs live, 24 frames a second, at The Atlantic Film Festival. Pat will also offer up an east coast gift bag give-away and feature multiple tracks off of a new CD from the elusive Yellow Jacket Avenger. From Newfoundland comes the electronic sounds of Hello This Is Alex and Halifax’s Patricia Creighton and Peter Allan take on Michael Colgrass.
The Signal with Pat Carrabré - Sunday, April 13, 2008
The final night of The Signal’s East Coast weekend goes off with a bang when Mark Fewer and The Newfoundland Symphony Orchestra perform Edgar Meyer’s violin concerto in concert. But this is only the tip of the iceberg, Pat will also play skronk from the Benghazi Saxophone Quartet, brand new music from Live Animal and the ethereal sounds created when you combine bass clarinet, cello and pipe organ and call it Halifax’s Sanctuary.
Tonight is the first night in The Signal’s east coast weekend extravaganza. Lobster free. Halifax’s Jill Barber joins forces with the Symphony Nova Scotia in a heart trembling concert. Pat will spin music from The Just Barelys, the St John String Quartet, Danny Oore and the genius that is the Lost Wax Guild. Pat will also feature the Peanuts to improv career of drummer Jerry Granelli.
The Signal with Pat Carrabré - Saturday, April 12, 2008
It is flutes not fiddles tonight when The Signal continues its East Coast weekend. Buck 65 performs live, 24 frames a second, at The Atlantic Film Festival. Pat will also offer up an east coast gift bag give-away and feature multiple tracks off of a new CD from the elusive Yellow Jacket Avenger. From Newfoundland comes the electronic sounds of Hello This Is Alex and Halifax’s Patricia Creighton and Peter Allan take on Michael Colgrass.
The Signal with Pat Carrabré - Sunday, April 13, 2008
The final night of The Signal’s East Coast weekend goes off with a bang when Mark Fewer and The Newfoundland Symphony Orchestra perform Edgar Meyer’s violin concerto in concert. But this is only the tip of the iceberg, Pat will also play skronk from the Benghazi Saxophone Quartet, brand new music from Live Animal and the ethereal sounds created when you combine bass clarinet, cello and pipe organ and call it Halifax’s Sanctuary.
Friday, April 4, 2008
APRIL 4, 5, 6
The Signal with Pat Carrabré- Friday April 4, 2008
Tonight Pat will take you on a Vertical tasting of the Kronos Quartet, with a focus on their extraordinary collaborations. Then hitch a ride on a Big Rig with Buck 65’s soundtrack work for a trucker documentary and later in the show he pairs up with Halifax drummer Jerry Granelli. Pat will also spin music from Chicago’s Sea and Cake, the crafty sounds of Iceland’s Amiina and Montreal’s VitaminsforYou.
The Signal with Pat Carrabré - Saturday, April 5, 2008
Sarah Slean has just released a new CD, but tonight on The Signal Pat will sample her collaboration with the Art of Time ensemble live in concert. Sarah takes on the work of some of our finest song-writers; Leonard Cohen, Ron Sexsmith and Feist to name just a few. Pat will also play a few tracks from the new CD from Guelph band Tin. There will also be music from Francois Houle, The Cinematic Orchestra, Squarepusher and Lightspeed Champion.
The Signal with Pat Carrabré - Sunday, April 6, 2008“Brem” is Palm or rice brandy in Balinese, something to remember tonight when The Signal presents a concert inspired by the flavours of BALI. Cocktail shaker and lemon zest at the ready, Pat plays music by Colin McPhee, Alexina Louie, Marcel Bergman and more. Spicy and refreshing. Then as a chaser, Pat will pour a round of cello shots by the likes of Rasputina, Matt Haimovitz, and Colleen.
Tonight Pat will take you on a Vertical tasting of the Kronos Quartet, with a focus on their extraordinary collaborations. Then hitch a ride on a Big Rig with Buck 65’s soundtrack work for a trucker documentary and later in the show he pairs up with Halifax drummer Jerry Granelli. Pat will also spin music from Chicago’s Sea and Cake, the crafty sounds of Iceland’s Amiina and Montreal’s VitaminsforYou.
The Signal with Pat Carrabré - Saturday, April 5, 2008
Sarah Slean has just released a new CD, but tonight on The Signal Pat will sample her collaboration with the Art of Time ensemble live in concert. Sarah takes on the work of some of our finest song-writers; Leonard Cohen, Ron Sexsmith and Feist to name just a few. Pat will also play a few tracks from the new CD from Guelph band Tin. There will also be music from Francois Houle, The Cinematic Orchestra, Squarepusher and Lightspeed Champion.
The Signal with Pat Carrabré - Sunday, April 6, 2008“Brem” is Palm or rice brandy in Balinese, something to remember tonight when The Signal presents a concert inspired by the flavours of BALI. Cocktail shaker and lemon zest at the ready, Pat plays music by Colin McPhee, Alexina Louie, Marcel Bergman and more. Spicy and refreshing. Then as a chaser, Pat will pour a round of cello shots by the likes of Rasputina, Matt Haimovitz, and Colleen.
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