The Godchild Movie Review

Space and time can be altered, but the truth never changes. This sci-fi fantasy film redefines the space time continuum through one unique boy's journey.

“Everyone’s connected,” says Peter as he shares some of his lessons to the audience regarding his travels through time and space. This interconnectedness is displayed in various ways throughout The Godchild.

The Godchild is a 2010 indie film by Canadian independent film director Philip Spink, which stars Kari Townsend, Steve Dhillon, Riah Fielding-Walters, Michael Heltay, Grant Spink and Hazel Valdez. This independent film features an all-Albertan cast and crew. The themes of interconnectivity, love, loss, fear and truth are clearly communicated in this work.

The Godchild Plot

Peter, played by Grant Spink, is a young boy from the Midwest. His godmother (and guardian) has been missing for quite some time. On what seems to be a normal day at school, Peter’s class is discussing Pompeii. When Kate, the teacher, compliments Peter on his drawing of ancient Roman columns, Peter informs her “I am there now.” In this way, the “mystery of Peter” is introduced.

As Sister Beth Myers, played by Kari Townsend, along with Peter’s teachers (Riah Fielding-Walters and Hazel Valdez) doctor (Steve Dhillon) and lawyer (Michael Heltay) attempt to solve the mystery behind Peter’s “episodes,” they are drawn into his world and are forced to face their own inner demons in the process. No character remains unchanged at the end of the journey.

Well Paced and Well Balanced Story in The Godchild

Although Grant Spink (Knights of Bloodsteel) plays the central character Peter in The Godchild, the true “star” of the movie is the story itself. There are four interconnected stories that weave around Peter's story. For the most part, these are well balanced, giving each leading actor a chance to shine, without seeming contrived.

Philip Spink captured the fleeting emotions on each character’s face effectively through lighting and camerawork as they wrestled with their thoughts and fears. The transformation from shock to disbelief to fear was artfully done when Kate is transported away from the school. Riah Fielding-Walters (The Wizard's Christmas) does a spectacular job of projecting those emotions through only her eyes.

The lighting was especially effective when Steve Dhillon (Money, ODC, 419: The Nigerian Scam) as the guilt-ridden doctor faced himself in his apartment. The theatre felt chillier with the dim steel blue lighting and the haunting strains of the soundtrack.

If anything, more information on Kate’s back story would have brought a bit more depth to her character. The doctor’s story did receive more screen time, but also could have been fleshed out just a bit more, although for both characters, the essentials were covered for their stories.

Michael Heltay as Bernie (Knights of Bloodsteel) and Hazel Valdez as Sister Valdez also deliver strong performances in the film. Valdez even injects a bit of Filipino cultural humour into one scene.

The movie soundtrack weaves into the story seamlessly. The melancholy minimalist themes enhance the character's emotions beautifully, from angst to frustration and from sadness to desperation.

The soundtrack is scored by Canadians James Guttridge (Voyage of the Unicorn, X-Files) and Peter Jancewicz. The Godchild marks Jancewicz’s debut in composing for film. His compositions are published by Alfred Music Publishing and Alberta Keys.

Grant Spink and Kari Townsend Shine in The Godchild

Grant Spink and Kari Townsend (The Call, Who Dressed You This Morning?) both delivered riveting performances in this movie. Both roles demanded a wide spectrum of emotions (some work with the blue screen). Their stories are fleshed out the most throughout the movie.

Townsend’s Sister Beth was portrayed as a strong woman trying to keep her world – the school – afloat. As the story progresses and viewers learn of her tragic story, Townsend aptly project’s the good nun’s vulnerabilities and desires.

Grant Spink brings a balance of youthful impetuousness, tempered by sweetness to the role. Both are needed to help audiences relate to his extraordinary character. At his core, Peter is just a child who’s trying to find his godmother. Trying to find the truth.

The Godchild – The Facts

The Godchild (2010) is a sci-fi fantasy movie rated PG. Running time is 83 minutes.

This sci fi film is based on an original screenplay by Philip Spink. Among Spink’s writing and directing credits are numerous sci-fi TV shows and mini-series, including Knights of Bloodsteel, The White Crane Killers, Once in a Blue Moon and Voyage of the Unicorn, which was ranked as Hallmark Entertainment’s highest rated two-night mini-series. His works have also appeared on RHI, SPIKE TV, Showtime TV and the Sy Fy Channel. He runs a production company, Philip Spink Productions in Calgary, Alberta.

The Godchild is available to buy or rent on the movie's website.

The Godchild – More Than a Time Travel Story

The story of The Godchild is well-paced. The development of the characters and the projection of their emotions are not rushed in the least. Although the premise of the story is space time travel, it’s the interconnecting storylines, along with the interaction between all the main characters that make this film enjoyable to watch (the space travel metaphysics is just a bonus for sci-fi fans).

The coin-flipping scene from the trailer and the film's ending? They need to be seen to be fully appreciated.

The Godchild stars Kari Townsend, Steve Dhillon, Riah Fielding-Walters, Michael Heltay, Grant Spink and Hazel Valdez. It had a limited run in Calgary, showing at the Canyon Meadows Cinemas on October 16, 23 and 30, 2010 at 10:00 A.M. Tickets and CD soundtrack were $5.00 each. This science fiction movie premiered Saturday, October 9, 2010 in Calgary, Alberta.

Rating: 4.5/5

Originally published on October 12, 2010 on Suite101.com. Updated March 21, 2013. All rights reserved by Rhona-Mae Arca.

Review of Johnny Summers – Piano Sessions Vol. 1 CD Release Concert

Calgary multi-instrumentalist Johnny Summers and friends delivered an intimate and passionate performance on Saturday, March 16, 2013 at the University of Calgary's Rozsa Centre. The event was a CD Release Party to introduce Summers’ third jazz album, Piano Sessions Vol. 1.

The Calgary event also featured Chris Andrew on piano, Al Muirhead on trumpet, Jason Valleau on bass and vocals, Sheldon Valleau on ukulele and vocals and finally, Shane Statz on tenor sax. Johnny Summers performed on vocals, trumpet and flugelhorn.

Swing, Ballads and Blues Featured in Johnny Summers' Piano Sessions Vol. 1

The concert opened with "She Thinks that I Still Care". Unlike with George Jones' original country stylings, this interpretation was injected with a "hot summer's day in New Orleans" feel.

The dramatic pauses at the ends of key phrases set a playful tone to the number. The trumpet and piano solos were longer than they were on the album, giving Johnny Summers and Chris Andrew an opportunity to really expand on their ideas.

Between numbers, Johnny explained some of his inspirations for recording this jazz album.  Listening to great crooners such as Harry Connick Jr. and Tony Bennett, as well as instrumentalists Bill Evans, Chet Baker and Paul Blaine instilled the idea of an album featuring piano and voice. "That's beautiful to me," he said.

"You're extremely exposed," he divulged. Johnny added, "You have to have a good sense of time."

During the recording sessions, four additional songs were recorded, which didn't make it onto the album: "I'll Be Home for Christmas" and "Winter Wonderland", "Look for the Silver Lining" and "Mood Indigo." The classic Christmas songs were bundled together in Winter Wonderland.  The other two made it onto Saturday's programme.

Jerome Kern & B.G. DeSylva's "Look for the Silver Lining" was made famous by Chet Baker. This medium swing song had a light, breezy feel to it.

Chris' solo was peppered with syncopated rhythms and impressive runs. In contrast, Johnny's solo on his brand new Yamaha flugelhorn was tender and warm, gradually blossoming into each a high point. Partway through, the groove became more animated and the two traded 4's.

The ballad "Maybe This Time" has been recorded by many artists, including crooner Tony Bennett. Johnny shared some of his memories of hearing Bennett sing live in concert. "He walks on stage...and you feel the electricity...When he sings, he fills you."

Johnny's interpretation was soulful and wistful, with an unhurried tempo throughout. That made the climax more impassioned. The piano shakes were performed in a dreamy fashion.

Jason and Sheldon Valleau of the band, The Polyjesters, lent their talents to "My Baby Just Cares for Me". This jazz standard by Walter Donaldson and Gus Kahn has been considered the signature piece of Nina Simone.

This medium swing number featured a soft, easygoing piano solo by Chris. The crescendo towards a soft, fermata in Johnny's trumpet solo was a short reprieve before the melody shot up to the instrument's upper register. The lyrics were delivered with a cheeky and humourous flair. The impromptu "doo-doo-doo" at the end of the tag was by Sheldon was a nice touch.

Variety, Extended Solos and Delightful Surprises at Johnny Summers CD Release Concert

One of the highlights in the second set was Nat King Cole's "I'm an Errand Boy for Rhythm". After a slow introduction on voice and piano, the mood shifted to a lively upswing. The interlude featured a rhythmic piano solo, followed by Al's elegantly shaped phrases. In contrast, Johnny's trumpet solo weaved and raced to the top with rapid runs. The trumpet dialogue between Al and Johnny was playful. At times, it sounded just like scatting. Other times, it sounded like a car race.

This interpretation of Duke Ellington's "Mood Indigo" had shades of Nina Simone. It featured solos by Shane Statz on tenor sax, Johnny on trumpet and Chris on piano.

The final song of the evening was a rousing performance of Johnny Cash's "Folsom Prison Blues". One of the most delightful things about music is that you never hear the same performance twice. This was especially true in this case.

The piano intro was extended for the live performance, gathering momentum just as a train does when it pulls out. The sax solo was grittier, exploring the lower range of the instrument. In contrast, Al's solo was lighter and higher, much like birds chirping. Chris' solo featured a  healthy dose of "crunchy" chords and driving rhythms, while Johnny's trumpet solo spun and shot up - higher - and higher.

Jason performed a percussion solo on his bass before Johnny and Jason scatted. Jason's surprise trumpet-like squeal led to various instruments being imitated.

The entire audience rose quickly to give everyone a standing ovation. The ensemble performed one encore, "St. James Infirmary."

Six more songs were performed at the Piano Sessions Vol. 1 CD Release. Four more other songs were performed in the first set: "Dream a Little Dream of Me", "You Don't Know Me", "Going Home" and "Exactly Like You". The second half also featured "I Wonder, I Wonder" and "Simple Song".

Piano Sessions Vol. 1 Concert Review

From the opening line, the balance between the voice and piano and later, the remaining instruments, was nothing short of perfect. The ensemble made full use of the acoustics that the Rozsa Centre offers, delivering a crisp and clear sound. They definitively demonstrated that the album's Global Music Awards for Best Listener Impact and Best Male Vocalist are well deserved.

Technical proficiency, when coupled with artistry, is a winning combination. What more could a performer or listener ask for? Well, perhaps for the lead vocalist to not have strep throat, perhaps.

The live performance offered listeners different type of performance. Feeding off the energy from the audience and the ensemble can push a musician to new heights of artistry. This manifested on Saturday into spontaneous moments of brilliance that lead to new directions for improvisation. Yes, live was slightly different from the album, but just as beautiful in its own right.

About Johnny Summers

Johnny Summers is a Calgary-based multi-instrumentalist who performs jazz, soul, gospel, blues and almost everything in between. He's a singer and songwriter, as well as a trumpet and flugelhorn player. As the director of the Calgary Jazz Orchestra, he serves as composer, arranger and band leader.

Piano Sessions Vol. 1 is currently available on CD Baby and iTunes on March 16, 2013. Click here to read my album review.

Product Review: FitBall Seating Disc

The average person sits 56 hours a week, leading to sitting fatigue, chronic pain and poor posture. Wiggle your way to better health with the FitBall Seating Disc.

On December 11, 2009, Fox News reported on a study which stated the average American spends 56 hours a week sitting. In Sitting Too Much?, Seline Yager states that oversitting has detrimental effects, from obesity to heart disease, and from diabetes to chronic pain stemming from improper posture.

Active sitting involves constantly adjusting your body position while seated. Fitterfirst, a manufacturer and supplier of active seating devises, state the benefits as being:

• improved core stability

• mild exercise (burn up to 350 calories a day from active sitting)

• ergonomic seating

• improved balance

• improved body posture and spinal alignment

• increased blood flow

• decreased stiffness

• pain relief

Who Can Use the FitBall Seating Disc

Anyone who sits for long periods of time will benefit from using the FitBall Seating Disc, from office workers to truck drivers, from musicians to painters and from students to seniors. People who wish to improve their posture can use the FitBall Seating Disc.

In "Effects of Stability Balls on Behavior and Achievement in the Special Education Classroom", Action Research Project (May 2008) by Victoria N. Bill, Master of Science in Special Education, she concludes that students with Attention Deficit Disorder (ADD) or Attention Deficit-Hyperactivity Disorder (ADHD) benefited from using an active seating device. Active sitting improves their alertness, attention and focus.

Warnings about Using the FitBall Seating Disc

People with poor balance should consult with a medical professional first prior to using the FitBall Seating Disc. Those who have recently had back surgery should get a medical professional's recommendation on the best active seating device for their condition. Finally, improper usage and posture on the disc can negate the benefits of active sitting and hurt your body.

FitBall Seating Disc Features

Think of the FitBall Seating Disc as a miniature fitness ball that can be placed on any office chair or task chair. The FitBall SeatingDisc is 15" in diameter and made of PVC. One side is smooth while the other side has sensory bumps. To inflate, use an air raft or air mattress pump. For increased instability, fill the FitBall Seating Disc with more air.

There is also a 13" FitBall Seating Disc Jr. for children. Optional sitting disc covers are also available. To clean, simply wipe down with soap and water.

FitBall Seating Disc Uses

1. Ease back pain, correct body posture and engage in active sitting by using the FitBall Seating Disc as an Active Sitting Cushion. Place on your seat and your body will take care of the rest. Your body will automatically adjust to healthy sitting posture. Make sure your feet are firmly planted on the floor as you will be continually swaying, wiggling and bouncing to maintain core stability. Place on the floor to work your legs and feet.

2. Improve your sense of balance by using the FitBall Seating Disc to make your ground unstable. Place on the floor and the disc becomes a Balance Training Tool to use for standing and sitting balance exercises.

3. The FitBall Disc can be used as a general training aid. It can Increase the level of difficulty of any standard exercise, e.g. stomach crunches, lunges

User Testing and Assessment of the FitBall Seating Disc

I purchased the FitBall Seating Disc to use when teaching piano. It is the largest of the three active sitting devices in my studio and the least portable. I would have preferred a different colour to create a "cushion rainbow" but it only comes in one colour. The bumpy side gives you a bit of a massage when used.I fell off my drum throne three times when using the Seating Disc. Unfortunately, the disc is 2" wider than the seat. Then, I moved it to a "normal" wooden chair with a back. When demonstrating at the piano, I have no problems with it. When sitting to listen to a student play, my bad habits return - leaning back and slouching so my feet can touch the floor or sitting with one foot on the seat while dangling the other since I can't touch the floor seated that way.

My three fidgety students used the disc as a foot cushion while using the FitBall Wedge as a seat cushion. Their feet didn't wander up and down keyboard stands, piano legs or wind up in the wastebasket as much when using the disc. Partway through a song, they simply stood on the cushion, shifting their weight in time to the music. This was the most successful application of the disc.

Fitter USA and Ball Dynamics International

The FitBall Seating Disc is manufactured by Fitter USA, part of Ball Dynamics International, LLC. BDI sells a variety of active sitting, resistance training, balance training aids and equipment.

It is a popular item on Amazon, ranking in the Top 40 of Amazon Best Sellers for Balance Trainers. For more information, read Exercise Ball Moves to the Office,and Product Review: FitBall Seating Wedge.

The FitBall Seating Disc is an affordable back pain remedy that fosters active sitting, core stability and posture correction. It is fun but use with care.

The FitBallSeating Disc is available at FitterFirst and Amazon.

CD Review: Tricia Edward's Joy Spring

Calgary-based jazz pianist Tricia Edwards takes a handful of jazz standards and transforms them into a relaxing and playful set in her debut CD.

Tricia Edwards' musical journey has taken her down many paths, most recently, in local jazz bars and the recording studio. From classical piano to classic jazz, from soloist to collaborative artist and from student to teacher/performer. With Joy Spring, Edwards takes her audience on a cheerful yet relaxing, playful yet romantic ride.

The Journey From Classical to Jazz

Edwards' musical studies began in classical music. She earned her Masters' and Bachelors' degrees in classical piano performance at the University of Alberta. After graduation, Edwards worked as a teacher and collaborative pianist in Alberta and the Middle East.

In 2003, Edwards began studying jazz piano, studying with Derek Stoll, a prominent jazz pianist in Western Canada. In 2009, she was awarded the Richard Harold Cowie Scholarship by the Calgary Musician's Association and C-Jazz.

Since then, Edwards has been busy. She has formed her own trio and quartet, the Whisper Not Jazz Ensemble, Calgary Jazzwinds, the Wednesday Night Big Band, Wednesday Night Little Big Band and a new unnamed smooth jazz quartet. She has performed at popular jazz clubs such as the BeatNiq Jazz and Social Club and Koi Cafe.

Joy Spring Disc Information

Track Listing

1. One Note Samba (N. Mendonca/A.C. Jobim)

2. Sugar (S. Turrentine)

3. Sidewinder (L. Morgan)

4. On the Street Where You Live (A.J. Lerner/ F. Lowe)

5. There Will Never Be Another You (M. Gordon/H. Warren)

6. My Funny Valentine (L. Hart/R. Rodgers)

7. Cherokee (R. Noble)

8. Bluesette (J.B. Thielmans)

9. All the Things You Are (O. Hammerstein/J. Kern)

10. Well You Needn't (T. Monk)

11. Joy Spring (C. Brown)

12. Alone Together (H. Dietze/A. Schartz)

Musicians: Tricia Edwards (piano), Keith Smith (guitar), John Hyde (bass)

Arranger: Tricia Edwards

Label: None

Produced by: NRS Productions

Cover Art by: Alison Edwards

Release Date: March 9, 2009

Joy Spring Highlights

Joy Spring is a smooth jazz CD comprised of jazz standards; a little Latin jazz, a little swing and a little waltz. The first track, "One Note Samba", opens with a cheerful piano solo before being joined by the guitar and bass. The guitar solo teases us with a line that steps away from the "one note" but leisurely returns to that "one note". The piano matches the playful and unhurried tone set by the guitar. Gradually the line ebbs and flows.

"Sidewinder" displays the funky and frolicsome interplay between all the instruments. Each member of the trio takes ideas presented by another member and takes it to another level. Nothing is rushed, everything is smooth and relaxed.

"My Funny Valentine" begins with a piano solo, playing a simple ostinato over the descending bass. The guitar enters with a very melancholic saxophone-like line. The head is played simply with sparse accompaniment. Gradually, the harmonies become thicker. The solos do reach virtuosic proportions yet remain lazy, smoky and sultry.

The jazz waltz "Bluesette" begins with a dreamy piano intro that is soon joined by the bass. The piano solo is syncopated, unhurried and sprightly. The bass solo could have been louder.

The title track, "Joy Spring" is a playful Latin groove. The head wanders up and down at a laid back pace.

In the piano solo, Edwards plays with the rhythm, throwing in a couple of runs. The guitar solo is highly syncopated and melodic.

Lighthearted Relaxation Music

The interplay between the piano and guitar and piano is well done. It is clear that the members of this jazz trio listen to each other, lend support and build on each other's ideas. The bass gives subtle but strong support. Joy Spring as a debut CD presents Tricia Edward's joy of music and playful nature; making it a fun listen, whether you are curled up with a good book and a glass of wine, driving across the countryside or enjoying a romantic dinner.

To find out more about Tricia Edwards or to listen to sample tracks, visit her website. To learn buy Joy Spring, click on the icon below:

Originally published March 1, 2010. All rights reserved by Rhona-Mae Arca.

Roots CD Review

At only 21 years of age, Alex Goodman shows the world why he's a force to be reckoned with in the Canadian jazz scene with his first jazz CD, "Roots".

"Without question, one of the most gifted guitarists of his generation," said Tim Ries of the Rolling Stones after hearing Alex Goodman perform. Together with Jonathan Kay on saxophone, Justin Gray on bass and Josh Park on drums, they form The Alex Goodman Quartet.

Alex Goodman - A Rising Star

Alex Goodman is a Canadian jazz guitarist, pianist and composer. He studied jazz performance at the Schulich School of Music at McGill University before transferring to the University of Toronto where he attended on a full scholarship. He has received numerous awards and accolades including a Banff Program for Jazz and Creative Music merit award, recognition as a CBC/Galaxie 2008 “Rising Star.” He studied performance and composition with international jazz greats Ben Monder, Wayne Krantz, Jim McNeely, Rich Perry, Tim Ries and Ethan Iverson.

He composed and played on the soundtrack for the award winning film Goodbye Rosebud which was screened at the Cannes’ Film Festival. He also wrote, arranged and performed all music for Reality Check, a TV film that aired nationally on Global in 2007.

Alex has performed in Canada, Thailand, India, Spain and the United States.

Roots - An Analysis

Bloom is a catchy track that alternates between a charming jazz waltz and an quick Latin groove. Jonathan Kay keeps up with the switches styles ably, maintaining a full and warm tone on the tenor sax. Alex Goodman demonstrates his technical precision by throwing in rapid rhythms that switch gears from one style to the next in the blink of an eye in his jazz improvisation.

The Cantus begins with a punchy rhythm played by the drums and bass. The piano and alto sax soon join in with a quick, highly syncopated melody. The saxophone solo fires up and down the register as the rest of the combo maintains punchy comping rhythms.

Things slow down a bit with Validation, which has a soulful feel like Round Midnight by Thelonious Monk. It gains a bit of momentum by the 1:00 mark. The piano solo uses classical-style sequences with jazz harmonies and steadily kicks up the momentum another notch with some rapid flourishes. The bass solo, in contrast, is calmer and introspective. The sax matches the gentle tone at first and then builds the intensity, gradually moving higher up the range. The drums play around with rhythms, starting simple and then getting more complicated, before easing back.

Recordame is a Joe Henderson classic. Its bossa roots aren't as evident in this version. This is also the first track on the CD to feature the guitar, which really does change the tone of the piece. The use of the guitar and the alto sax give this track an easy-going feel.

Nihilism contains some bebop melodic shaping but keeps things at an easygoing tempo - at first. The solos quickly push the mood from calm to excited. The interplay of the combo during the sax solo complemented the sax without stepping on the solo.

Out of Nowhere is another laid back track. The saxophone's range is explored in depth during the solo. The guitar solo is very "scat-able".

Perito Moreno begins with a fast bebop groove in the bass and drums. The sax truly lets loose with some virtuosic passages that fly high and low during the solo. The piano solo is filled with syncopation and rapid passages. The bass and drums maintain the intensity with their driving lines.

The final track, Winter, is slow and dreamy, like Vince Guaraldi's Christmastime is Here. It opens with just the piano and a gentle brush groove by the drums. The head, played by the sax is sultry and melancholic, while the bass continues with an pensive solo. The piano solo incorporates some rhythms and harmonies reminiscent of Impressionist music but maintains the calm feel.

Roots Track Listing

1. Bloom (A. Goodman)

2. The Cantus (A. Goodman)

3. Validation (A. Goodman)

4. Recordame (J. Henderson)

5. Nihilism (A. Goodman)

6. Out of Nowhere (J. Green/ E. Heyman)

7. Perito Moreno (A. Goodman)

8. Winter (A. Goodman)

Produced by: Alex Goodman

Recorded with: Central Audio Productions

Released: 2007

Roots - The Verdict

Roots is a solid debut CD, showcasing the versatility of this jazz combo as well as Goodman's compositional style. Their cohesion is pretty tight and it's hard to believe that these young jazz musicians are barely into their 20's. Alex Goodman and Jonathan Kay truly shine in this CD. However, as able as Justin Gray and Josh Park were, it would have been nice to hear them really let loose. Perhaps in their next CD.

Since releasing Roots, The Alex Goodman Quartet has become The Alex Goodman Quintet. To find out more about Alex Goodman visit his website and his MySpace page.

Although Roots doesn't appear to be available, the jazz combo's latest album, Bridgesis. It was nominated for a 2013 JUNO Award for Contemporary Jazz Album of the Year. Alex Goodman is currently pursuing his Masters in Music at the Manhattan School of Music.

Originally published on Suite101 on December 21, 2009. Updated March 11, 2013. All rights reserved by Rhona-Mae Arca.