Swanee - Hello! Irving Kaufman singer , Jack Kaufman. Willie and Eugene Howard with Sonia Jackson. Bryan Foy director ; Eddie Peabody. Henry Halstead Orchestra with Betty Patrick. Bryan Foy director ; Cliff Nazarro. Bryan Foy director ; J. Alex J. Bryan Foy director ; Hugh Herbert. Bryan Foy director ; John Miljan. Bryan Foy director? Bryan Foy director ; William Demarest.
Adele Rowland with Mildred Brown piano. Archie Mayo director ; Henry B. Murray Roth director ; Charles Rogers. Bryan Foy director ; Charles Ruggles. Eddie Foy, Jr. Bryan Foy director ; Eddie Foy, Jr. Joe E. William B. Bryan Foy director ; Willie and Eugene Howard. Raymond Hitchcock. Bryan Foy director ; Rose Marie. Bryan Foy director ; Georgie Price.
Murray Roth director ; James J. Corbett , Neil O'Brien. Murray Roth director ; John T. Bryan Foy director ; Ben Pollack. Bryan Foy director ; Dave Apollon. Arthur Hurley director ; Charles Hackett. Murray Roth director ; George Rosener. Murray Roth director ; Eddie Buzzell. Arthur Hurley director ; Giovanni Martinelli. Broadway's Like That. Jason Robards, Sr. Patrick H. O'Malley, Jr. John G. Bryan Foy director ; Lucien Littlefield. John T. Arthur Hurley director ; Chester Conklin. Edmund Joseph director ; Eddie Foy, Jr. Roy Mack director ; Giovanni Martinelli. Neville Fleeson writer ; Trixie Friganza.
Roy Mack director ; Ruth Etting. Roy Mack director ; Douglas Stanbury. Roy Mack director ; H. Phillips writer ; Chester Clute. Roy Mack director ; James Dunne? De Wolf Hopper with Stanley Ridges. Roy Mack director ; Hall Johnson Choir. Harold Beaudine director ; William Demarest.
Roy Mack director ; the Vitaphone Kiddies. Arthur Hurley director ; George Jessel. Reed Brown Jr. Alfred J. Goulding director ; Dudley Clements, Hobart Cavanaugh. Goulding director ; Eddie Foy Jr. Roy Mack director ; Henry Santry. Goulding director ; Frank Orth. Roy Mack director ; Romney Bent. Goulding director ; Jack Hazzard. Roy Mack director ; Hugh Cameron. Roy Mack director ; Jack Hazzard. Goulding director ; Stanley Rauh story ; Joe Penner. Reissued as a "Pepper Pot".
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Clips of various silent screen stars: William S. Walter O'Keefe hosts. Goulding director ; Joe Penner. Goulding director ; Eddie Foy, Jr. Roy Mack director ; Earle Sande. Al Ray director? Al Ray director ; Joe Penner. Warner Bros. Alice Gentle. May be a cut scene from The Show of Shows. Goulding director ; Marjorie Beebe. Includes early shots of Marie Dressler.
Charles Geigerich; Lowell Thomas narrator ; part animated cartoon. Alfred E. Green director ; Dick Powell.yqegagusow.tk
Ray McCarey director ; Harry Warren. Hugh Herbert , Walter Pidgeon. Roy Mack director ; Gus Edwards. Talk about humility! This was one of those mind-blowing gigs that happen every so often, and part of the initial stimulus for me moving to Australia. The whole festival that year was a big eye opener, in particular to size and quality of the Australian scene and the opportunities we have here.
I remember leaving this gig and wandering down to Town Hall for the train home in a total musical stupor. Brad is a total monster musician and one of my biggest influences, and it was something pretty special to see him live for the first time. The gig closed with a 3rd encore - No Moon At All - and Brad playing this line in the last chorus of his solo which had the whole audience spontaneously exploding in applause.
This was still in the relatively early years of that band and it seemed like everything was still new and exciting for them - I saw them at North Sea Jazz Festival in and it seemed like that initial energy has faded a bit. But they were still monstrous! The band ebbed and flowed around the occasional short excerpt of a post-Hurricane-Katrina interview with the philosopher Dr. Cornell West, which gave the gig a deeply emotive vibe.
Fabian Almazan really blew me away - he has this really unique, sophisticated sense of harmony and it was great to hear him stretch out with such a supportive and creative rhythm section. This gig was one of the best things I saw over the month I was in NY. The band danced around a range of standards and originals in a plethora of odd times with total fluidity and musicality. Winner of the Generations in Jazz Scholarship, and the Jazz Prize at the Melbourne International Festival of Brass , Ken has recently returned from a semester on exchange at the Jazz Institute Berlin and is in his final year of study at the Sydney Conservatorium.
Ken has also recently recorded an album with The Cooking Club, leads his own trio, and is playing in multiple other projects. Ken is looking forward to using the scholarship money to travel around Europe, continuing to create lots of music and musical contacts. After failing to buy a ticket, I turned up to the concert hall an hour and a half before the show to line up for the uncollected tickets, which go on sale 5 minutes before the concert starts.
I managed to get a half price ticket right in the middle of the A reserve section and sat down seconds before show started. The whole symphony was incredible and faultless. They played two sets of music at this gig. The first was great, very similar to the other gigs I had seen. The second set however, was on another level. Tony Buck was playing some incredible textures, layer on top of layer of beautiful continuous sounds. Chris Abrahams played swirling washes of piano that became more dense harmonically as the piece went on, while Lloyd Swanton held the band together with a simple rhythmic figure.
Quite often The Necks music builds to an amazing climax and gradually tapers down to end. This piece continued to accelerate until the very end when the whole band stopped at the same time and the sound of the drums and piano rang out until complete silence. It was a very dramatic performance and left a big impression on me.
He played a medley of all the hits from Brown Sugar and Voodoo, which really showed what a talented musician he is. The band then came back out to join him for another half hour or so of music, almost 3 hours in total, it was unbelievable! This duo consisting of Simon Barker and Carl Dewhurst always leaves me with a profound feeling of inspiration. I am just free to enjoy the performance and let my mind wander for a little while, this always leaves me feeling refreshed.
This specific gig was especially inspirational as it was in the small and cosy space of Bohemian Grove and I was sitting right in front of the band. I think this was the moment where I realised the real strength and beauty that accompanies having a unique and individual sound, as every member of this quartet does. What else struck me was the control and use of dynamics of this band, not many musicians sound that good at both ends of the spectrum.
It was overall a very special gig at a very special venue that has left me inspired for a number of years. Back to Top Natalie Dietz's High Five Jazz vocalist and rising star Natalie Dietz has made an indelible impression on the Australian jazz scene in such a short time, impressing both audiences and critics alike with her trademark warm, sensual tone and varied vocal abilities. Accepted into the elite jazz vocal program at the Sydney Conservatorium of Music in , Natalie honed her performing skills under the tutelage of Australian jazz luminaries like Judy Bailey and Mike Nock.
Prior to this, she received tuition from the Australian Opera title role soprano, Anke Hoeppner, cementing an important foundation in classical voice. Since graduating with a Bachelor of Music Jazz Voice Performance in at age 25, Natalie has become a regular on the Sydney music circuit. Her original compositions are attracting considerable attention among her contemporaries with their complex harmonies combined with strong melodies. She is inspired to blend and create textures with the voice within an ensemble, using wordless melodies as well as lyrics.
Her compositions explore the breadth of modern styles, distinguishing her as an innovative and multi-skilled artist. In December , she will be using funds from these grants to relocate to New York where she will further her studies in both voice and composition. She plans to record her debut album in As a great singer, who has developed a unique compositional style, she is one of the leading lights in a brilliant new wave of original music coming out of Sydney.
She has, no doubt about it, a sense of herself and it manifests in a cohesive set of songs, delivered, largely, with wordless eloquence. I was sitting in the front row directly in front of the incredible Brian Blade. The intensity of the sound, fascinating use of tonal palates by Shorter and the indistinct soloing format kept me constantly engaged. I did not believe that kind of intense energy could exist on a bandstand until witnessing this concert. While his sound is cutting edge, his influences reflect a wide and informed span of the history of jazz. Performing a combination of standards and original compositions, all the players of the rhythm section blew me away.
The gig was a lesson in itself on how to use dynamics effectively. She has an ability to rouse such a wide range of emotions by manipulating the timbre and dynamics of her voice. The originality in her method of interpreting lyrics to standards is always impressive, and she really shines in this duo format. She sings mostly wordless vocals without vibrato with excellent range, technique and dynamics. There were a lot of complex melodies which were effectively doubled by guitarist Andre Matos, strengthening the lines and creating interesting textures during improvisations.
What I particularly loved is that she utilizes and explores darker tonal palates in her music. Robert sounded fantastic, Derrick Hodge was astoundingly good on bass, and Casey Benjamin has not only a very unique sound on alto, but his use of the vocoder is so effective in creating moods, almost hypnotic. I definitely plan on seeing them live again soon! Studied at the Victorian College of the Arts, Melbourne. New Blood, avant garde trio formed and led by Adam Simmons. Formed the Ben Carr Trio. An invite from S.
The Adam Simmons Toy Band was formed combining the Jazz Big Band with toy instruments, spontaneous choreography, general and overall sonic mayhem, Origami, vacuum cleaners, giant balloons and fireworks! The band released their first album Happy Jacket in , toured regional Victoria, performed for S. Traveled to London and New York City. A second quartet banded, featuring the formidable improvisational forces of pianist Erik Griswold, drummer Ken Edie and bassist AJ Hall.
The band focused purely on improvisation. The group recorded two sessions in , and played the Melbourne Jazz Fringe festival in My teacher played me the album Dances and Ballads, and the dissonance put me right off with no ability to perceive what I was hearing. But he convinced me to witness the gig with him. It may have been a pivotal moment in my life, stearing me well away from my ambitions of being an Airforce Fighter Pilot and taking the saxophone more seriously. Such an amazing combination. Unfortunately Kenny Kirkland passed away before I could see the quartet with him. But this was a spiritually uplifting gig, there was a strong presence in the room, and I felt as though the John Coltrane quartet was actually on the stage.
Another gig with a presence, for me a continuation of the miles band, like Miles was in the room guiding the flow of energy. Andrew is also an active educator and clinician. The context also necessarily tends to entail a more vivid portrayal of form by means of alluding to changes and outlining structural markers in the absence of piano or guitar. A serious player in a great band on a great night. This gig was remarkable as a meeting of two very full and free-ranging musical minds playing in perfect spontaneous simpatico. True musicianship on the drums.
Novak at that time, in that band, was just unsurpassably great and his hook up with Kikoski and Bob Berg was devastatingly strong. Kim has been playing, recording and touring in and around Sydney for over 7 years, in a number of musical settings, ranging from swinging jazz, Latin, and hard hitting funk ensembles, to 18 piece big bands.
I remember a conversation with the bass player in the set; I was going on about how or why they are playing so amazingly considering there was only a few punters in the audience. The whole vibe of the place was unbelievable, being so close up and to see all those instruments on stage playing straight-ahead jazz was really mind-boggling. The local scene consisted of the pub rock, reggae and grunge bands, and the old trad cats that we would see once a year at the Cairns Jazz Fest.
Spoilt for choice, we ended up getting into bands like Grinspoon, Korn and Regurgitator, which we got to see at some all-ages concerts or festivals. Occasionally, a touring artist would come to town and it would be the most amazing music we had ever heard. That was cool! I wish this gig was still going. Love gets messy when you skew its rhythms and pluck at its raw emotions.
But given the Sarah Collyer treatment - everything has the potential to become a jazz song. With a luxurious voice and elegant approach to music, Sarah Collyer has been influenced by jazz greats like Nina Simone and Miles Davis, but finds inspiration in contemporary artists like Melody Gardot, Diana Krall, and even Tom Waits. Born in Brisbane, Australia, she studied classical and jazz voice at James Cook University and the Queensland Conservatorium, discovering early that jazz was the genre for her.
It just feels natural and really resonates with me. My all time favourite vocalist is Cassandra Wilson. There were so many amazing artists on the line up that year, it was hard to choose between them all, but I decided the only artist that I definitely had to see, was Cassandra Wilson. By the time I got in the door the set had already started, but still I was happy to get a seat right at the very front of the auditorium.
It was completely surreal to be there. The whole ensemble oozed a similar, natural poise. The insanely talented young Jonathan Batiste at the piano mesmerized the audience with his classical stylings, tasteful accompaniment and killer solos. Lekan Babaloa added cheeky and inventive percussion - filling each moment with just that added extra sparkle on top of the ever solid groove laid down by Herlin Riley on kit. Reginald Veal on Bass and Musical Director Marvin Sewell on guitar completed the band and added to the joyful and playful vibe of the set.
I am forever drawn to deep rich female voices. No one phrases like Cassandra Wilson. I was there to do a review of the concert for 4mbs radio in Brisbane. I was very happy to witness this! However, from the moment Mr. Hancock entered the stage and took his seat at the eagerly awaiting Steinway, all such notions were forgotten. Herbie Hancock entered, looking every bit the grand reverend of Jazz piano that he has become, and launched into a lively dialogue with the spirited drummer.
I was transfixed. Throughout the night, Herbie gazed intently with child like wonder at the piano keys, where his fingers proceeded to draw out the perfect combination of notes. As Herbie swung back and fourth between the Steinway and his Korg, Lionel Loueke treated the audience to his unique style of guitar playing, complete with percussive effects and vocalisations. The orchestra provided an immaculate sound scape, while Nathan East and Vinnie Colaiuta provided what must surely have been the strongest and most grooving rhythmic foundations the QPAC concert hall had ever felt.
I was, pleasantly surprised! Diana Krall and her band were subtly supported by an unobtrusive orchestral soundscape. This is the side of Krall that I adore - grittier and darker vocals that are much stronger and full bodied than the more breathy and sweet approach that she uses for Jazz standards. Her playing becomes more impassioned too.
It was a touching sign of humility from such an esteemed and brilliant performer 4. Every single move seemed to have been meticulously thought out. My dad, responsible for so many of my early musical encounters including my introduction to the music of Nina Simone , taped the show and I got a hold of that VHS tape. Kurt Elling here is inspirational in his ability to just let go and rip into a tune, leaving no corner of his range unexplored and squeezing every possible sound out of his unique and capacious voice.
He did not disappoint. He has performed extensively at National and International jazz festivals. He has released ten critically acclaimed albums as leader. He is currently a PhD research scholar at Macquarie University completing his creative thesis about Improvisation. Half hour of pure bliss is how I can best describe hearing Fons. His solo work portrays the sounds of Mediterranean cultures; his palette of colours and techniques covers Flamenco, Taquam, Hindustani classical, Ravel, and Debussy.
His hand drumming on the double bass confirms the depth and brilliance of the rhythms he applies to his melodic lines. There are chord, counterpoints, and bowing techniques used as compositional devices executed with ultra-virtuosic flair, and that is before he brings a discreet assortment of self-made sounds from his loop pedal board to deliver a fulfilling and rare musical experience. This was a free concert on a warm summer evening; unbeknown it would be on the same night, I had previously purchased tickets to see Chick Corea Trio and Wayne Shorter Quartet at the Lincoln Centre.
A tall order for anyone, but John McLaughlin exploded that night; I had seen him before and since. This was the start of their Remember Shakti World Tour, and the band was pumped up in front of a three thousand-strong crowd. Electric mandolinist, U. Zakir Hussain tabla and V. Selvaganesh on kanjira south Indian frame drum , also on fire. I or we have been waiting twenty-five years to hear you play the trumpet, please play!
The Dark Prince looked up, pondered, and then unleashed some, which was a gift for all to witness. I was playing at this festival with my early mentors, Roger Frampton and Phil Treloar. I have not heard a trumpeter as good since that day. Close friend, and trombonist, Steve Turre was also thrilling, as he filled Bombay Cricket Stadium with the earthy, yet ethereal sounds of his conch shells.
As it happened, I had played with my group Passionfruit at the Festival. There were several highlights at the festival, but the most remarkable for me happened at 2 or 3 AM. All the shows had finished and I was about to go to bed, when I heard this distant sound of a trumpet coming from the street; it was punctuated by fairly long pauses, and then the sound would reach me from a different angle, still quite far away though. Brendan's grandfather, a polish refugee and a great violinist and accordionist, had bought the saxophone in That investment was realised some time later when Brendan quit his chemical engineering studies to pursue a career in music.
Since then, studying at Sydney conservatorium under Col Loughnan, Dale Barlow and Judy Bailey, Brendan had a 6 year tenure with Judy's big band, and released an album of original music with a quartet under his own name. Most recently Brendan has recorded and led Slide Albatross launching the trio's self-titled debut in October At the time I was blown away, Warren Trout has such a slamming groove. It was a catalyst for me to drop my chemical engineering studies, to the great alarm of my parents.
I really appreciate how much care he takes with his tone and touch on the piano, which is a big lesson for any instrument. I was amazed at how he drew in the band with his playing.
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James Waples was hitting his drums so hard he knocked his cymbal over. He was born into a musical family, and at the age of 17 , won a BBM Jazz Award which allowed him to go to London and get involved in the jazz scene there. He has a Bachelor of Music majoring in jazz piano, and has studied with many notable jazz musicians including Alister Spence and Matt McMahon. Casey is working on a project with Australian jazz legend Bob Barnard, with recordings and gigs planned for the coming months.
I was already a fan of all three musicians, but this was my first time seeing them live. The way they could open up on standards, how they could play really quiet, but still make it feel great. So heavy. I went both nights. This was the first gig I remember coming home from and immediately writing out a list of stuff I need to work on. They played originals from every band member, plus a few standards. Will Vinson is unbelievable. And it feels like something new.
It was all new material written for these shows that paired the music with projections and live painting. This was the gig that everyone in New York seemed to be talking about at the time. I knew it was going to be something different, but going in, the thing I was most excited about was hearing John Ellis and Ted Poor play. As great as they were, the writing and orchestration was just on another level. This is a serious working band. No tunes were called and most of each set was segued.
I saw them three times during their week at the Vanguard and every set was completely different. They work really hard on getting new stuff out of each other on every gig, but it never sounds forced. Everyone should check them out. Back to Top Alex Pertout's High 5 Chilean born Alex Pertout has for decades being recognised as one of Australia's leading percussionists and with credits on hundreds of albums and soundtracks is undeniably one of Australia's most recorded musicians.
Alex has also attained credits with television orchestras, in countless live performances and as a respected educator. In Chronological Order 1. I still remember the concert vividly. It also included Tom Coster on keyboards. It was also staged in the days where people moved freely around the hall, so as soon as the concert commenced, everyone moved to the very front of the stage, it was amazing.
I stayed there and watched the entire concert right in front of Armando 's wonderful three congas and to the side of Carlos, his days of wearing all-white and burning constant incense sticks. Armando's sound and pedigree was first-rate and so for me this was an incredibly humbling experience. To be there, to see him and be able to watch his hands and hear this sound coming acoustically from the stage was something I will never forget. In the Australia of the late s, it was actually extremely hard to find rhythmic percussionists with an understanding and knowledge of Afro-Latin American rhythms, so to experience someone of the stature of Armando, with his touch and rhythmic vocabulary, it was something truly unique.
On a recent chat I had with Paul Grabowsky while on an Australian Art Orchestra tour we were discussing concerts attended and realised that as young teenagers we were both at Festival Hall on that particular Santana night! The Santana band of course has been back to Australia periodically and it has given me the opportunity to build life-long relationships with Armando and also with Raul Rekow, another inspirational mentor from the Santana legacy.
With only a few lamps around the room, the place was rather dark. The crowd would sit on the floor or on the benches that encircled the tiny room. Brian would welcome everyone, then the band would play freely for extended periods of time. It was so refreshing to witness this ever evolving sound, always a different experience.
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These were my developing years and Brian was at his creative peak, always extending himself and the players that surrounded him, the music was personal and in the moment. I was always fascinated by the freedom and the way the nights would evolve. It was always interesting and innovative. It was the place to be. Later I was to join Brian and his band in this creative environment, enjoying many years of inventive in the moment playing alongside Bob, Jeremy, David and later Virgil Donati on drums and Bobby Venier on trumpet.
These nights at The Commune took place years before Brian would personally develop educational pathways for talented individuals at the VCA, becoming one of the pioneers of leading contemporary music performance education in Australia. No matter what environment I find myself in, from jazz, to pop, to orchestral, to rock, to world, to folk, it manifests itself in the manner I approach music making. It produced a highly sophisticated sound, well orchestrated, performed at a high level, energetic and innovative, which was delivered over the years in highly refined album releases.
The chance to see him in Melbourne with the quintet at its prime was quite exciting. His set up also included a fully fledged grand piano that reportedly they were transporting from concert to concert. Pedro on the other hand covered an array of tasks, from rhythmic percussion and guitars to glock and of course his wonderful wordless vocals, a trademark of that Metheny ensemble sound at the time.
The material captivated me and still does. The AAO toured India in , yet another one of those awe-inspiring Paul Grabowsky developments, an adventure that I can firmly state here, touched and changed everyone involved. The concerts brought all of us very close to the mastery of Karaikudi Mani, whom we watched in performance throughout the tour leaving everyone spell bound. His delicate ways of articulating extremely advanced material, his patience in delivering and working through the music, his extreme enthusiasm and focus on the developing tasks and his overall professional attitude at all times, left all of us captivated night after night.
His percussive world certainly made a mark on me, made me reassess much and inspired me further in the development of new hand techniques, an extremely interesting rhythmic language and the acquisition of an array of fascinating percussive instruments. I feel that now due to these enriching experiences, I can impart some of this knowledge and incorporate some of the textures and new found sounds and techniques on to the wide ranging musical situations I find myself involved in. The songs rhythmically arranged to embrace in the main Afro-Brazilian folk styles, were brilliantly executed live.
This was presented in a refined and highly creative stage environment where the players and in particular the rhythm section players, excelled in the art of role play and ensemble interaction. Each percussionist had an incredibly defined role within the structures of the songs, yet they also freely improvised and further developed the patterns and overall ensemble sound throughout the concert. Choosing five moments was exceptionally hard.
As soon as I got my 'P' plates at age 17, I would drive to Sydney to see gigs and get lessons. This would always include a massive Tuesday night at The Rose with Jackie Orszaczky and his band followed by a 'debrief' up the road at The Townie. This was a gig that the younger musicians in the scene would be invited to sit in during the last set. Arne Hanna was Jackie's guitarist of choice and for me is one of my biggest influences, incredibly funky, I'm yet to experience anything as funky as those gigs at The Rose.
Gary Walford piano and Don Heap bass became great influences and supporters of myself and the other musicians I was living with at that time. You had to be able to hear you way through the tunes being called, you'd get the band discount at the bar as well as the chance to spend time with some of Australia's most experienced traditional Jazz musicians. Every week you could head down to hear the best in what the Sydney Jazz scene had to offer. This was such a great gig, a unique atmosphere with a free feed at midnight. The music the played that night was incredible. I remember being affected by this gig for a long while after.
Carl is a master improviser and has been a huge influence on me. Every time I get to see him play he inspires me and reinforces the fact that when you improvise, you are only limited by your imagination. She seamlessly weaves in and out of musical stories and delights the soul with free flowing improvisation that takes the listener by surprise, causing us to trust her with our hearts and ears!
Her music is a fine balance between Cuban tradition, jazz and her classical training. She brings the piano to life with an immense talent for highly nuanced improvisations. At the age of 20 she was accepted into the National University of Arts in Havana, Instituto Superior de Artes de la Havana where she studied composition under Tulio Peramo for three years. At the age of fifteen she was invited to Asturias, Spain to the Festival de Jovenes Talentos for her first international performance.
In at age 19 she won the Cuban competition Jo-Jazz, with Grammy award-winner Chucho Valdez presiding over the jury, and in she was invited to Bremen, Germany to record her first album Bendiciones with Weltwunder Records. Relocating to Germany in she continued to tour Europe and build her international reputation. She was invited three consecutive years to perform in Festival Son Cuba, a Cuban performance that celebrates Cuban traditional music and tours Europe annually, as well as touring extensively throughout Germany, Austria, Switzerland and the Netherlands, both as a solo pianist and with her trio.
In she was a guest soloist at concerts with Australian guitarist Tommy Emmanuel. My dream was always to have the opportunity one day to see him play live. Living in Cuba, that was almost an impossible dream. Seeing him play solo in Berlin was one of the most beautiful experiences of my life. My heart was pounding so fast, before, during and long after the concert was finished. I thought I was dreaming! That man playing the piano was not from this world, nor was the music emerging from the piano: it was magical!
It was passionate, intoxicating and fun! The music flowed perfectly, mostly improvised yet so coherent. Paul's playing was so vibrant and colourful, a journey through a world of harmony. I couldn't stop smiling. It was so inspiring. He has inspired me and influenced my playing in many ways.
I was just starting to play jazz at the time and this concert gave me a bright vision of the many possibilities of the Trio and how Cuban music and Latin jazz can be approached in a more sophisticated way. It was perfection. The Orchestra, the music, the dancing - heartfelt, impeccable, honest.
I played solo and one of Tommy's compositions together with him. It was a unique experience for me. Tommy is not only an incredible guitarist but also an inspiring man. We talked for hours back stage, about music and life. I'm honoured to have him as my good friend. Without labouring that aspect, I have placed them in an autobiographic context as an alternative to the usual CV of this column. At different times in my life I have worked as artist, musician, composer and teacher, using various media and structures but music has been the most consistent element, focusing on improvised composition with bass violin and electronics as my instruments.
I first got into jazz when I was about 14 and loved it immediately and completely. Somebody mentioned the St. He was the first bass player I came across. For me, he was super-real, mythical, the ultimate in modern jazz bass playing. Listening to him and watching his playing was the highlight of my life.
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He was classically trained and his technical authority well adapted to jazz but my pleasure in watching and listening to him was always marred by the nagging reminder of the limitations of my own self-taught playing. I was deeply impressed that he seemed to be able to hold the whole band together, rhythmically and melodically while at the same time making the bass really sing but I was far too nervous to ever approach him. Without knowing, you contributed enormously to my music life.
I met Chuck at the tail end of our adolescence where our exuberance morphed into dedicated posturing. I was booked for some one-night gig somewhere by someone to play somewhere and they drove me in a truck to the gig. I remember vividly, climbing into the back and there was Chuck in the truck. That gig led to a highly productive music relationship and a long close friendship. We shared the same obsessions about jazz, talking and walking the same path.
We emulated everything in US jazz that we regarded as hip. The scene in Melbourne was small but varied. All this was formalized in the unique Horst Liepolt venue, the Jazz Center 44, years. The relatively hard-nosed, driving, front-line and rhythm-section, quartet or quintet was the favoured format. But it was understood that it would be in the US mould with nothing too exploratory, unexpected or dangerous.
We were all copyists with a shared understanding of what we were copying. In , I decided to leave music behind and devote myself to my art practice. Music had to wait until I moved back in Melbourne in to take up a teaching position at Prahran Institute, School of Art. This lasted a year after which I moved into a hectic life of making sculpture by day and working 6 nights-a-week as a professional by night. I resumed contact with my Melbourne jazz colleagues, including Chuck who inspired me to finally seek a teacher and study the bass with classic intent. He had dedicated himself to the study of the piano and harmony and it was a great pleasure to witness his slow but methodical development from uninformed inept youth to musically articulate and authoritative practitioner.
We spent hours analyzing and transcribing Oscar Peterson and Ray Brown material and later, unravelling some of the genius of Bill Evans and his various bass players. The breakdown of our intense focused communication grew into an irreparable separation. I liked his approach to the act of playing and performing and responded to the raw and heartfelt sound that came from the body not the head. Ironically, his overall pitch always seemed to me to be flat. This was an issue of intonation, not tuning and it must have been his choice because it was consistent across the range of each of his instruments.
I knew of no other tenor player who could blow the instrument with the feeling and power Brian seemed to manage with ease. He had a disarmingly mature understanding of what he was after; it was no accident; it came from him and from the way he interlocked it with an individualistic sense of notation and interval.
Though in the US mould it was a free flowing band and less hierarchical than others. Most importantly, we liberated the bass and drums from the role of rhythm section into the melodic and textural realms of the horn and piano. The conventional solo was dismantled in favour of democratic inter-activity. As our personal friendship developed, Brian leant more and more toward free form music. The music relationship between Brian and me was a constant creative challenge to each of us.
I proposed that we apply as a collaborative unit for a music development grant and prepared a first draft of the application accordingly. They saw it as an opportunity to reinforce the jazz aspect of the quartet and its existing form as an historic entity. But all of it barely nudged the boundaries of jazz in this country. We recorded this trio during the Carlton Streets sessions, I arranged a couple of interesting gigs and Brian took part agreeably.
But before long he wanted out. PHIL TRELOAR, 1st period refer below for 2nd period Phil has always seen music in terms I understand, terms which can never countenance disagreement, terms that are founded in unencumbered feeling and spiritual consciousness. It was an extraordinary night of highly energy packed jazz. I was thrilled to hear him lift the sound out of the drums, rather than hitting them into submission.
He played the intrinsic pitch and tonality of a drum as though it was a keyed instrument. Our collaboration and friendship was fed with regular visits he made to Melbourne from his home in Sydney. Each visit meant a weekend of playing, and recording, listening and discussing, an intense period of highly agreeable, sympathetic and energizing interaction.
Our intensive sessions led to performances in Sydney and Melbourne of partially composed and partially improvised material. This period of our interaction concluded around With their generous contribution of talent, support and time, I designed and directed a series of one-night and short-term events here and interstate.
Both James and David were my students and shared with me an art-based interest in the super-real. Her untutored, intuitive musical energy, the textural qualities and the manner of her playing had a significant influence on many improvisers, David Brown, Ren Walters, Anita Hustas. After a hiatus of nearly three decades we were able to call upon the vital creative energy of our past in terms totally relevant to the present. Our extraordinary music based relationship had resumed as though it had never been interrupted. I felt absolutely confident of the outcome and I sent him a bunch of CDs to familiarize him with their work.
My trust was rewarded with notable success from the first to the last sound 16 days later. An enormous bonus for me was playing the bass again. I was actually playing even though there was much to be desired technically. This was the result of being three weeks into a revised Parkinsons medication regime which was dramatically reducing the symptoms. I know that I pleased more than myself in the spontaneous decision to play the bass in preference to my electronics in almost every session and performance.
Phil was more than reserved in his encouragement and praise. I believe his propensity for the latter is by default not intention, which makes it all the more engaging. Ren was another of my students at Phillip Institute, School of Art. We hardly communicated verbally but I know the environment and philosophy of that school nurtured his love of invention as it did for many others, David Brown, James Clayden, David Waddelton, Chris Knowles, to name a few.
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I think it was with Eric Gradman, the violinist, and my distinct memory of his playing being like a continuum of organic machinations. I found it really interesting and was keen to have him play with me. It has retained its relevance and intensity and THAT has remained my primary music vehicle.
As well, Ren has contributed to almost all my ensembles and events. I am fully cognisant with the opportunities I have given Ren as his teacher and friend but he has returned my attention to his needs a thousand-fold. He has released six albums as both leader and co-leader and each have spanned genres as wide as reggae, afrobeat and hiphop, to Indian Classical and Tango music. He has toured and performed at major festivals around the country with his various projects including The Vampires, The Strides, Jeremy Rose Quartet, Compass Saxophone Quartet and Chiba Quartet, as well as appearing as a solo artist in Japan and Norway.
Their compositions were sophisticated and intriguing to me at the time, with some twentieth century classical influences, and a high level of improvised interaction between the players. The drummer in particular was virtuosic and his dialogue with the pianist was incredible.
I was exhausted during the show jet lag , but Liebman's unceasing energy inspired me to continue playing the saxophone for many years to come. All musicians had recorded for the record label Honest Jon's which has a celebrated shop of the same name in London's Portobello Rd. The name comes from Lagos, Nigeria, where a chop up is a lavish feast, in dance music culture at large. This gig was like a dose of medicine for me, since I had been living in London for a few weeks studying, composing and practicing. The spirit of the music was incredible and at one point, the whole Barbican audience stood up at once and started dancing myself included.
The music could be described as grunge-jazz the music actually avoids most stereotypes but just to give you an idea. The most interesting element in the group is their unique cueing system - they can signal changes in orchestrations, dynamics, time signatures, tempos and metric modulations and many more by just playing a short melody that everyone immediately hears and responds to. The music was fluid and took several dramatic shifts throughout the concert. However it was this curiosity that made me go and listen to the music over and over again over the following months.
Stripped back to the purist of voices, the duo format allowed these two master musicians to fully explore their compositions and depart on intriguing improvised explorations. As part of the Melbourne Fringe Festival, a special Retrospective of Adam's work was held - featuring over musicians in 40 configurations over three weeks. Since Adam has also been working as a visual art, creating music box assemblages and is represented by Catherine Asquith Gallery, Collingwood. In Oct he exhibited at the National Museum in Szczecin, Poland and has been a selected finalist for several art prizes, including the Hutchins Art Prize.
As a musical director, Adam has been leading bands for over 20 years, including his larger ensembles, the Toy Band and Adam Simmons Creative Music Ensemble. Adam's most recent release is with his trio, Origami called "The Blues of Joy" - featuring the unique spiral packaging of an actual origami design, the CD has been critically acclaimed so far, with accolades in The Australian and The Age, as well as having been an ABC Jazz Feature Album.
The CD is available in physical and digital formats from www. The presentation, the persona, the freedom, the adventure, the control, the precision and rigour - it was exciting stuff indeed! I forget now which concert I saw, whether it was the first or second - but because the ABC recorded and broadcast the other performance I actually got to hear both.
And I still have the tapes made from recording directly from the radio broadcast, that still work surprisingly after the hours I did playing along to Foley and Kenny Garret! But All I remember is the solo set of Billy's - wow!! I don't claim to know much about him, other than from what I've read and he's played with the likes of Lee Konitz, Charles Lloyd and numerous others.
But it was just sublime. He drove all the way directly from LA approx the distance from Melbourne to Sydney. When he sat down to play, he waited for a moment and another He then selected another drumstick And to only an audience of three - Phillip, myself and one paying punter, a bassist friend of Phillip's!!
And then at the end of the night, he graciously accepted a token offering as payment, and hopped in his car to drive directly back to LA. The absolute commitment to the music shown by Billy that night - and to playing the right music, not just doing the gig! But I'm going to pick the gig where I saw Cecil for my High 5 - the contrast between Masada and Cecil was quite marked, especially in John Zorn's attitude towards an audience comment. Now I will preface this by saying Zorn has been a large influence on me and I know he has done a huge amount for contemporary music worldwide, but after a particularly rousing finish to a Masada tune, there was a cry from a member of the audience "We love it, John!!
The crowd was right into it, so why chew someone out for enjoying it? First he read some poetry, which was not actually so audible, at least to me, and then they started to play. The music was so strong, and so unique. People started leaving - this was flabbergasting to me! Here was a man of almost 80, creating heavy, heavy music - and each piece was very different in sound and concept. There was nothing compromising about this music - it was from the heart and mind, absolutely personal and from musicians that have researched and explored this music for many years. The fact that even after so many years of playing, that people still were not hip and open to this music is incredulous to me So for staying true to his musical vision and for just the sheer endurance and strength at the age of about 78, I have to take my hat off to Cecil for this gig!
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His records have him performing with ensembles, but I have only ever seen him play solo, and I must admit I think I prefer it that way. The first time I saw Steve Young, I went down to Melbourne in a car with a bunch of my Dad's friends, without really knowing much about him, other than they liked him. The first song he did had me breathless with the strength and technique of his playing - and then a string broke, which felt like it was broken by the strength of the music itself, rather than because of any physical action.
And so, since then he has returned 3 times, I think, and I've seen him every time and its always been worth it! He was a guest with some local musicians, playing trad jazz - I think it was Roger Vincent on trumpet, Ron Rosser on drums and maybe a clarinetist, but I'm not sure. Tony just made the whole thing live! I remember thinking it was like Cecil Taylor - the strong rhythmic drive and adventurous harmonies had me enthralled all night, with a sense of joy, humour and adventure. And I must admit, I've never seen him play like that again.
He is one of the most lyrical and harmonically interesting instrumentalists I've heard, but I am glad I have experienced the "good time" side as well!! And yes, during the break when I asked his advice about getting into VCA, he strongly urged me to make sure I auditioned in person and he even offered to organise a band to play with and just to call him up.
I did so, and he said just to come to his office on the day. And when I got there it turned out that he was simply going to accompany me himself!! And because of having seen him perform it was both an exciting and daunting prospect. But I ended up getting in and having the honour of learning Tony and others for three years - but always remembering the wild night of jazz in a small bar in Ballarat! It is totally dependent on who is being recorded. A melting pot of all our influences" "I still do a fair amount of audio work, but only jobs that I really like! The interaction, the groove and the fun these guys were having was infectious.
Luckily, it was captured for a DVD release, so I still check it out every now and then.
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Evan Mannell is a constant inspiration - He's such a badass! Jim has such a unique voice on the instrument, and his control of sound is phenomenal. The band was really firing, opening up some of the tunes for more improvisation, constantly aware of all members. Contemporary music at its finest! Seeing this gig totally reinforced my thought that he is one of the finest musicians on the planet! Simon has a beautiful touch on the instrument, and a concept of rhythmic smearing that I think I finally understood at this gig!
The fluidity of communication between the trio was exceptional. This was certainly a moment in my life when I heard some of the things in my head, being done cleaner, faster, cooler than I thought possible. This performance was a definite motivator for the shed and is a constant source of inspiration. Joey Castillo is a badass. This was hard-hitting rock music. Massive drum sounds! Awesome guitar sounds! I really dig Josh Homme's songs and the production of their albums. Seeing it live was great! Late in she won the Crowded House lyric writing competition after Neil Finn and band ran a global competition where they put up the backing track of a song they were working on minus any lyrics or melody.
Not your usual pop musician, Sarah grew up in New Zealand and made a name for herself as an award winning choral composer. It was awesome. I remember the theatrics and the sense of showmanship. I had never seen anything else like it. There was one point in the show where a giant tank came on stage and a little girl walks up to it and puts a flower in the end of the gun shaft - very cheesy but some-what powerful!
I met Billy Joel who was really funny. I love string quartet music but this was on another level. They had their instruments running through distortion pedals at one point and the sound really pricked my ears up. Distortion in a supposed classical concert? Yes please! It was a Tuesday night, the place was packed, everyone was dancing their arses off, and the band sounded amazing! Hamish Stuart was on drums and Dave Symes was on Bass.
Clayton Doley rocked up with a leslie speaker and organ on a trolley and I knew then that Sydney had a lot to offer musically! I am biased as Matt is in my band Miss Little but the music he is making currently with this line up is so thoughtful, beautiful and well orchestrated. The first time I heard these songs live I was so enthralled. More information on the upcoming album and tours at www. What made the gig for me was the interplay between Binney and drummer Dan Weiss, and the incredible energy and groove that they developed over the course of a tune.
Dave Binney has an amazing melodic concept and a fresh approach and is not afraid to turn jazz on its head. Dan Weiss was equally refreshing, he'd really meshed the Indian rhythmic stuff with jazz in a way I'd never heard. I left the gig in a laughing fit which didn't end for half an hour! Being from a small country town I hadn't seen any high profile jazz gigs before. Wayne Shorter's set had some high energy moments that had me on the edge of my seat.
I was standing right in front of the stage and it was LOUD! To hear and see them perform their unique polyrhythmic music was eye opening and inspiring on an ensemble and compositional level. Their guitarist Fredrik Thordendal is one of the most unique musicians I've encountered. His trio's performance at Darling Harbour this year blew me away.
Kurt's music is an inspiration to all of my peers and his mastery of the guitar is unprecedented. The rhythm section were subdued which was perfect for the music, allowing Kurt to feature his huge sound and musicianship. I bought a ticket because it was a great opportunity to check out some new artists who I hadn't heard of. This gig led me to check out the band Kneebody another of Wendel's band who have been a big influence on me recently. With them he has been on numerous European, North American and Asian tours and for Musica Viva he frequently performs school shows Australia wide.
Paul is a member of the Australian Art Orchestra, having recorded three albums. I ended up overcome by a sense of how beautifully delivered this music was. To add any other element to this should have diminished their complete sound, but Jan Garbarek matched their tone, their intonation, appeared from within their notes, soared freely across their ensemble and managed to merge just as mysteriously back into the texture.
On stage, Emma Matthews brought out the passion and aching desire from extremely tricky 12 tone melodies and the orchestra was overwhelmingly expressive. The sets featuring huge mirrors helped to make this a transforming experience. Over 3 hours of Berg left me feeling very affected and eager to study the score. Both were amazing and inspirational, knowing that one was witnessing performers who are pioneers, survivors and a big part of jazz music history Andrew Robson and I attended the Ornette concert together and had the honor of meeting him at the after show party.
I was backpacking the U. It was a big deal for each student, surrounded by their family in the shape of a boat in a ritual which combined the slow procession with their own song, declaimed by the men in high lamenting voices. She has toured around Australia with David Campbell. Cohen has composed music for film, theatre, and dance productions. Not only is her playing extremely tasteful and sure, her sound is beautiful - a considerable achievement on an instrument as impersonal as the piano. The music is seductive and melodic and the solos are often exquisite.
Just stunning - her singing, the band, the arrangements, the soloing. Top notch contemporary mainstream vocal jazz - beautiful, original and highly accessible. The band rocked out hit after hit, dispersed with new material of an equally high standard. The band was fantastic.
At the start, he was escorted onto the stage by one of the female backing vocalists- later revealed to be his daughter, who sang a beautiful number. Stevie was gracious enough to play the hits we all wanted to hear with freshness and brilliance. Back to Top Jan Preston's High 5 Jan Preston, the knockout boogie woogie pianist with the rich resonant voice, captures audiences with her mastery of boogie woogie and honky-tonk piano style. Visit Jan on Facebook www. Ms Simone had a reputation for being a very moody live performer and her shows were always up and down depending on how she was feeling on the night, so I was extremely lucky to hear Nina Simone in concert at her very best.
The independence between her singing and piano playing absolutely stunned me. I bought his current album Live On the Queen Mary and learnt just about every tune. Here, at last, was a female player who approached the piano in the same percussive way that I always had. She was the first female concert pianist I had ever seen, a great performer as well as teacher, and we were all overwhelmed to have Lili perform in our small town in NZ.
It was like the queen was visiting. I was dragged along to this show by a friend. Back to Top Tom Vincent's High 5 Tom Vincent is a leading and dynamic jazz pianist who has been performing for over 20 years. His style is unique and influenced mainly by recordings from the jazz greats like Louis, Sarah Vaughn, Clifford Brown, Duke Ellington and so on. Vincent has lived and performed extensively in Europe and spent three years in New York where he was active in the jazz scene, performing and studying. His love of performing reflects the true jazz style of collaborating with other passionate aficionados.
This has enabled Vincent, who is now based in Tasmania, to build a strong contingent of musicians across the globe, jazz musicians who are eager to reunite and perform with him. An experience with Tom and his sidemen will have you sitting on the edge of your seat and moving at least one part of your body. Tom is charismatic, spontaneous, downright cool and an absolute genius at the keys. This music is rooted in the jazz tradition and a joy to see live as Tom combines this earthy original jazz feeling with fresh invention, surprising and delighting his side men, himself and of course the audience too.
His infectious style of jazz brings people together to simply have a good time over some great swingin' grooves. His repertoire of hundreds of songs feeds a constant stream of music that is evolving right before you. Tom consistently deliver exciting and entertaining performances.
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