#041 Indigenous Musician Creates New Sound by Retracing His Ancestral Roots feat. Chuck Copenace

Chuck Copenace is our featured guest on today’s episode.

In this episode, Chuck will share some of his experiences – some not all that pleasant by the way – growing up as an indigenous person in Ontario.

Music was the one thing that Chuck was good at, and it’s probably what has allowed him to amount to anything of significance.

Today Chuck is just a few days away from releasing a brand new album titled Oshki Manitou, a blend of modern tech with ancient sweat lodge melodies, and featuring all indigenous musicians.

What a great thing!

That’s the host’s synopsis of this episode anyway.

To get the full story, you should listen to the man himself!

What you’ll hear in this episode:

-Chuck’s trumpet origin story…01:30

-Trumpet becomes more than a passing hobby…08:49

-“That’s pretty good for an Indian”…11:25

-Confronting “reverse racism” within the heart…19:30

-How music “validated” Chuck, ie made him a person of value irregardless of the color of the skin…21:45

-Attending university, in spite of magnificent efforts to sabotage the effort…25:30

-The Great Lightbulb of Self-Awareness turns on as music takes a more prominent role…30:30

-How reconnecting with ethnic roots cultivated a unique blend of music…36:30

–Plus whatever your discerning ears deem worthy of your time and interest…

Resources mentioned:

Chuck’s website

About the guest:

‘Oshki Manitou’ finds the Winnipeg-based, Ojibway musician expanding dramatically on his previous work as a trumpet player, arranger, and composer, fusing contemporary interpretations of sweat-lodge melodies with jazz and elements of dance and electronica.

Copenace’s distinctive voice and approach allow him to unify a wide range of styles beautifully in a way that’s honest and innovative in equal measure. “I shy away from traditionalists,” he explains. “When someone says, ‘this isn’t how music should be done’ or ‘if you’re playing this genre of music, this shouldn’t be there.’ That’s always bothered me.”

The result is a collection of eminently groovy, haunting, and, at times, ethereal songs that display Chuck Copenace’s signature voice and substantial skills as an interpreter, composer, and performer as never before. But that’s only part of the equation, he says, citing a larger purpose behind his efforts, for which ‘Oshki Manitou’ is just a starting point. “I’m committed to sharing my story to help heal and offer support to people, and I want to introduce young people to jazz, but I also want to bring indigenous musicians together. And I think my music can be a platform to further that mission.”