Dingo Australian Jazz Journal - Issue 7 Autumn 2024

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Dingo acknowledges the Traditional Custodians of Country throughout Australia and their continuing connection to land, culture and community. We pay our respects to Elders past, present and emerging.

PROUDLY PRESENTED BY

JOIN US THIS YEAR TO CELEBRATE INTERNATIONAL JAZZ DAY AT WELCOME TO THORNBURY.

JAZZ IN THE NORTH

FREE JAZZ SATURDAY 27 APRIL 2PM – 8:30PM FREE EVENT

Plus merch and a fantastic relaxed atmosphere. Grab a meal, have a drink and enjoy Australian jazz artists.

EDITOR Adam Simmons | editor@dingojazz.com CO-EDITOR & MARKETING Cal Barry | marketing@dingojazz.com ART DIRECTOR Perri Winter | artdirector@dingojazz.com WRITERS Ben Bartholomew, Des Cowley, Stephen Hornby, Julia Messenger, Barry O’Sullivan, Michael Prescott, Jurate Sasnaitis, Josh Underhill SUBSCRIBE subscriptions@dingojazz.com ADVERTISING marketing@dingojazz.com PUBLISHED BY Sounding Grace Pty Ltd 339 Clarendon St, South Melbourne, VIC 3205, Australia DISTRIBUTED BY ARE DIRECT ISSN 2652-9637 Dingo accepts freelance art, photo and writing submissions, however we cannot reply personally to unsuccessful pitches.

For submission guidelines please visit www.dingojazz.com/contact Views expressed by the authors are not those of the publisher. Reproduction in whole or in part is prohibited. Copyright is reserved by the publisher.

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editor Wominjeka/Welcome As we prepared for Dingo’s seventh edition, we felt it was the ideal opportunity to reflect and stretch ourselves with something a little special. Significant in many traditions, the number seven is often linked to bigger-picture thinking, a bridge to higher places. From the start, our mission at Dingo was to create a forum for the plethora of Australian jazz, improvising and creative musicians – what if we highlighted a whole bunch of artists and their achievements?

And so, what you hold is the collective wisdom from over 65 of our artists, sharing their journeys, influences, and inspirations with us. From the seasoned masters playing for decades to the fresh, emerging talents, each brings a unique voice to the rich tapestry of our music heritage.

Their stories reveal commonalities that bind us – dedication, influence, and the pursuit of mastery – against a backdrop of diversity that enriches our experiences and understanding.

Encouragingly, while there is great respect and deserved admiration for jazz’s international giants, in many instances our respondents have declared some of their most impactful influences and wishlist collaborators are fellow Australians.

While the focus is on artists, there is plenty of festival action going on with Wangaratta rising from its “last hurrah”, the return of Brisbane Jazz Festival and Sydney Con Jazz Festival, as well as new events such as Adelaide Jazz Festival and Sydney’s Inner West Jazz Festival. Though with the example of Orange Winter Jazz Festival taking a break this year, they should not be taken for granted.

Approach this edition with a spirit of discovery – which is a sentiment expressed more than once in these pages as being at the heart of jazz. Treasure the insights offered by those you know and love well; delight in the joy of surprise offered by new discoveries.

And the excitingly scary thing is we’ve barely scratched the surface.

Enjoy Adam Simmons

contents

005 EDITOR’S LETTER 008 SPOTLIGHT 014 ARTISTS PROFILES REVIEWS AWARDS

112 LIVE 114 CONTRIBUTORS

10 12 26

42 29

79

34

96

70

8

spotlight

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JAZZ IN THE NORTH 2024 Dingo’s International Jazz Day celebrations return this year as Jazz in the North with another jam-packed day of Australian jazz artists.

International Jazz Day – chaired and led by UNESCO Director General Audrey Azoulay and legendary jazz pianist and composer Herbie Hancock – is declared to be “the world’s largest celebration of jazz as a force for peace, intercultural dialogue and international cooperation.”

As noted by Hancock during 2023’s showcase event, “Respect for human dignity is firmly integrated into the DNA of jazz. International Jazz Day honors this important value by embracing the peace and freedom that jazz so eloquently proclaims. And that is the spirit of jazz – finding delight in diversity and creating harmony out of our differences.”

It is with this spirit that Dingo’s Jazz in the North celebrates the richness and diversity across different aspects of the Australian jazz community.

This year Welcome to Thornbury – located in Melbourne’s inner-north suburbs – will come alive on Saturday April 27 with Melbourne’s finest emerging and established jazz artists such as Merri-bek City Band Phoenix Project, Mark Morand’s 32 Bars, The Whoopee Project and Ray Pereira’s The Mouth (presented in conjunction with Melbourne Jazz Co-Op) as well as ensembles from Melbourne Conservatorium of Music Jazz & Improvisation Department.

So join us for live music 2pm - 8:30pm, April 27 in a fantastic, family-friendly, relaxed atmosphere. Grab a meal, have a drink in the sprawling beer garden and enjoy Australian jazz artists.

A L EXA N D E R F LO O D P H OTO BY M AX RO UX

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F E S T I VA L S A D E LA I D E JAZZ F ESTIVAL Returning for its second iteration, Adelaide Jazz Festival begins April 26, leading up to UNESCO’s International Jazz Day on April 30. It augurs well that the festival was nominated in its first year for Best Live Music Event – SA for the National Live Music Awards. “ This is a community-focused festival aimed at supporting the local jazz community and providing audiences with a unique live music experience that’s financially accessible, especially in these challenging times,” says AJF founder and producer, Kaya Blum. Featured artists this year include beat-master Alexander Flood, award-winning vocalist Anita Wardell and Atlantic Street Band literally taking jazz to the streets along Rundle Mall.

WA N GARAT TA F ESTIVA L OF JAZZ & BLUES Despite the 2023 event being declared “The Last Hurrah” prior to winding up operations, the Wangaratta Festival of Jazz & Blues has had a new lease of life thanks to the efforts of a grassroots push. Incoming Festival Chair, Andrew Nunn has declared, “As a Board, we are acutely aware the task ahead of us is big. We are up for the challenge and are enjoying the process.” The 2024 festival will be staged as always over the Melbourne Cup Weekend (November 1-3) and intends to present the prestigious National Jazz Awards. The festival is applying for government funding and seeking donations from the public to kickstart things: wangarattajazz.com

A N I TA WA R D E L L P H OTO BY G LO RI A DA N I E LS - M O S S

T H E VA M P I RES P H OTO BY K E N L E A N FO RE

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AWA R D S AP RA P ROFES S IONAL DEVE LOP M E NT AWARDS The 2024 APRA Professional Development Award winners were announced in February, with jazz composer Vanessa Perica and sound artist Rebecca Bracewell among the 12 recipients. The PDAs showcase music creators in the early stage of their career, offering a $10,000 cash prize to support their development.

ARIA AWARDS

VA N ES SA P E RI CA

The ARIA awards are a celebration of Australia’s music industry and its artists. The 2023 award for Best Jazz Album went to The Vampires featuring Chris Abrahams for their collaborative album Nightjar. This is the Sydney-based ensemble’s seventh album and the second ARIA nomination they have received.

NAT IONAL JAZZ AWARDS The 2023 National Jazz Awards (bass) at Wangaratta Festival of Jazz & Blues saw Melbourne-based Blakely McLean Davies awarded first prize, receiving a $7,000 cash prize supported by Wangaratta Council and a recording session with Melbourne’s Pughouse Studios. Alistair Peel (WA) and Jordan Tarento (VIC) placed second and third respectively.

Details for 2024 are yet to be finalised, though the new Festival Chair, Andrew Nunn, has confirmed saxophone will be this year’s instrument.

ORIG INAL TUNES C OMP ET IT IO N The Original Tunes Competition held at the 2023 Australian Jazz Convention in Longford, Tasmania was won by Tasmanian pianist Bruce Gourlay, with his composition, “If You Think You’ve Got Me … Yes You Have”. This is Gourlay’s third award having previous success in 2014 and 2017. Second and third place went to Pauline Wright (NSW) and Stephen Jewell (NSW) respectively.

R E B EC CA B R AC EW E L L

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AUST RALIA DAY HONOURS LIST In this year’s Australia Day Honours List, recognition has again included some of our jazz community’s high achievers. Clarinettist and saxophonist, Rodney Barnes, has been honoured with an Order of Australia Medal (OAM) for his service to music and the community. A music teacher for over 40 years, Rodney’s passion has manifested in helping found Adamstown Arts, home to Dungeon Jazz Club, and forming the Dungeon Big Band, enriching the Newcastle Music Festival with annual performances. In a touching parallel, his wife, Dr Jennifer Barnes, receives recognition with an OAM for her contributions to opera and the community, underscoring the couple’s shared dedication to the performing arts.

B L A K E LY M C L E A N DAV I ES

Another Newcastle-raised recipient, John Foreman, already awarded an OAM in 2015, has been further distinguished as a Member of the Order of Australia (AM) for his significant service to the performing arts, particularly music, and to the broader community. With a background in jazz including as a finalist in the inaugural James Morrison Scholarship and graduate of Sydney Conservatorium of Music’s jazz course, John spent 12 years on Good Morning Australia with Bert Newton, and has gone on to a long career as one of Australian TV’s most recognised musical identities.

T HE JOHN HUF AWARD FOR YOUNG JAZZ P E RFORM E RS Instigated last year by the Port Fairy Jazz Festival in honour of their recently retired foundation coordinator, the John Huf Award intends to encourage and highlight younger jazz performers under the age of 26. The 2024 awards held at February’s festival saw 14-year-old, Queensland-based saxophonist James Eller take top honours, winning the $1000 cash prize supported by local sponsor Damian “Joe” Gleeson.

J O H N FO R E M A N

JA M ES E L L E R

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CONNECTIONS M US I C AUSTRA LIA | SOUN DS AUST RALIA | SOU N D STORY Millie Millgate In a significant reshuffling within our Australian music organisations, several key leadership positions have been announced in recent months. Long-standing Sounds Australia Executive Director Millie Milgate has been appointed as the first Director of Music Australia. Following Milgate's departure, Esti Zilber has been elevated to the position of Executive Director at Sounds Australia, where she is expected to continue the organisation's legacy of promoting Australian music on a global stage. Meanwhile, Kirsty Rivers, previously the Head of Music at Creative Australia, has transitioned to a new challenge at Sound Story, a public relations and communications agency.

M I L L I E M I LG AT E

JAZZ A N D IMPROVI SED MUSI C I N N EW Z EALA N D For those interested in the jazz happenings of our Antipodean neighbours, the Wellington Jazz Collective Artistic Director and drummer Mark Lockett, recently announced they have secured The Cavern Club as a new venue for their headliner concert series. WJC is an artist-run non-profit project that presents a range of local and international artists, including many Australians.

And for the more adventurous, the recent inaugural Aotearoa International Festival of Secret Sounds presented by Audio Foundation might be a good one to put on the calendar for next year. Held in early February this year, the event featured Australian sound-artist Rod Cooper as one of the international guests, as well as New Zealand artists that are regular visitors here such as saxophonist Roger Manins, pianist Hermione Johnson and Audio Foundation’s Director and saxophonist Jeff Henderson.

EST I Z I L B E R P H OTO BY CYB E L E M A L I N OWS K I

RO G E R M A N I N S A N D M A RK LO C K E T T

M A R K LO C K E T T P H OTO BY EWA G I N A L- C U M B L I D G E

ERI C AJAYE

KARLI N LOVE

MARTHA BAARTZ

ZELA MARGOS SIAN

AS H LEY BALLAT

ANGUS MASON

MIA BARHAM

SPI KE MASON

NAT BARTSCH

JOHN MCALL

JACK BEECHE

CAMERON MCI NTYRE

KRISTIN BERARDI MAT T BODEN

MARK MORAND NADI RA

FEL IX BORN HOLDT

HOLLY NORMAN

MICHAEL J. BRADY

JULI E O’ HARA

GAI BRYANT

JAMI E OEHLERS

MIROS LAV BUKOVSKY

YUTARO OKUDA

AN D REW BUT T

ADAM PAG E

JES S ICA CARLTON

KAYLEI G H PI NC OT T

JEN NA CAVE

TI MOTHY PLEDG ER

REECE CLARK

STEVE PURCELL

LACHLAN DAVIDSON AN GELA DAVI S MARY D OUMANY

DAN QUI G LEY ENNE RI G NANESE MAT T ROCHE

CH ERYL DURON GP IS IT KUL

ADAM RUDEG EAI R

JACK EARLE

HAMED SADEG HI

SAN DY EVANS

HOLLI SC OT T

RON NY FERELLA

ALEX SI EG ERS

MARK S IMEON FERGUSON

ALI STER SPENCE

CH RISTINA FINCH

DANI EL SUSNJAR

S EB FOLVI G

HELEN SVOBODA

H INAN O FUJISAKI DAVID GALEA HILARY GEDDES JAS MIN E HALL

ALEX TAYLOR CLAYTON THOMAS ROB VI NCS KATARZYNA WIKTORSKI

SONJA H ORBELT

JULI EN WI LSON

LUCY IFFLA

BELI NDA WOODS

AD E I SHS

CHARLI E WOODS

ELLEN KIRKWO OD

ARTISTS

In this special edition, we are sharing the words and thoughts of a wonderfully diverse collection of our nation’s jazz and improvising artists. Their voices, each distinctly unique, speak to the strong spirit of jazz in Australia, showcasing the genre’s boundless possibilities and the vibrant community that nurtures it.

More than 65 artists from around the country responded to our invitation to share aspects of their backgrounds, influences and personal reflections on jazz. Through their answers we gain insight into their creative practice, current inspirations and a few of their favourite things. We arrived at a shortlist of artists that fitted our simple criteria – currently performing Australian jazz artist – through consultation with leading organisations, industry figures and public forums. With the feedback and suggestions we could easily have filled our pages 10 times over with incredibly creative artists.

Accompanying these current stories, are acknowledgments of past achievements of our artists as recognised though some of our most significant national awards for jazz, such as the ARIA Awards, APRA AMCOS Art Awards, Australian Jazz Bell Awards, Don Banks Music Award, Freedman Fellowship, and the National Jazz Awards. These accolades both celebrate individual excellence and underscore the collective pride and respect we share for the art form and its practitioners.

Also, throughout this section you will find reviews of over a dozen recent album releases from the artists profiled.

We invite you to immerse yourself in these pages, to discover and rediscover some of the artists who shape the Australian jazz scene. With QR codes accompanying each profile, your journey through this edition can extend beyond the page, connecting you with each artist’s music. Enjoy the exploration, the inspiration and the celebration of jazz in all its forms.

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ZELA

MARGOSSIAN PIANO

NEW SOUTH WA L E S

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Years of playing: Since I was four years old.

Inspirational mentors: Almost all of my teachers were inspirational and still are. I have to mention my mentor, Vili Sargsyan, at the Conservatorium in Yerevan (during my undergrad and postgrad courses studying piano performance) and both Judy Bailey and Matt McMahon in Sydney.

Proudest musical achievement: The Bridge of Dreams project with Sandy Evans, Aneesh Pradhan, Shubha Mudgal and Sirens Big Band.

What is jazz?: Jazz for me is freedom of expression. A medium that allowed me to discover my voice in music.

The impact of jazz: It impacts society in many ways; most importantly, it is a genre that connects people together and builds cultural bridges.

If only I had known: That it is never too late to repaint your life canvas and that anything is possible to achieve as long as you are fully dedicated to it.

Best practice tip: If life is too busy, set a time for practice on the days that you can practice. Sometimes, when you have only 20 minutes to spare for practice, make sure you focus on a fragment of a piece you want to work on, or a few bars that you want to transcribe or write a few bars for a tune you are composing. It’s better than doing no work. Secondly, always keep being inspired by artists you love, ranging from your heroes to the younger generation who are creating fabulous music.

Influences: I think my biggest influences to transition more into jazz and improvisation were the folk-fusion bands in Armenia which were very active during my studying years in Yerevan; The Armenian Navy Band and Vahagn and The Cats [aka Katuner]. Other major influences are Tigran Hamasyan and Dhafer Youssef.

Current listening: I am currently checking out Jon Batiste’s music and Gretchen Parlato’s last releases.

Dream collaborator: I can’t think of anyone specific at the moment. So many people inspire me.

Tune: One of my favourites is Aram Khatchaturian’s “Adagio of Spartacus” from the Ballet Spartacus.

Place: Cities, they could be Rome, Barcelona, Argentina, Beirut, Yerevan, Sydney. I love the beach in general, both the beautiful beaches in Sydney and the Mediterranean sea in Beirut. I am very much inspired by the sea/water. I also love my home.

Ice Cream Flavour: Dark chocolate Animals: Dogs, dolphins and lorikeets Festival: London Jazz Festival @zmquintet zelamargossian.com www.facebook.com/zelamargossianquintet

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DRUM SET V I CTO RI A Years of playing: 45 years Inspirational mentors: All of them.

Proudest musical achievement: Wayfinders’s Left Hand Path What is jazz?: My entry ticket into the world of folk music.

The impact of jazz: I don’t think it does impact society.

It impacts individuals.

If only I had known: Involve the body.

Best practice tip: When you stop playing, don’t sell your instrument.

Influences: The connection that music has with magic.

Current listening: Bikutsi Music from Cameroon, Albert Ayler and lots of opera.

Gear set up: A constant rotation and mixing up of four different drumsets.

Mostly smaller 18” bass drums.

I’m messing around with stuff.

Place: My backyard Venue: Bar 303 Season: Autumn (early)

MIROSLAV

FERELLA

BUKOVSKY

RONNY

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AUSTRALIAN C A P I TA L T E R R I T O R Y Years of playing: 68 years Inspirational mentors: Guido Fisher, William Adam Proudest musical achievement: The collection of Wanderlust and Ten Part Invention recordings, with Andrea Keller and Emil Viklický.

What is jazz?: Pure joy … mostly.

The impact of jazz: Not sure anymore.

If only I had known: Almost everything.

Best practice tip: Long tones, breath control, Caruso, Sound, Schlossberg, Charlier, transcribing and practicing solos, scales, chords to improvise with, rhythm and articulation. Prehear and sing everything you play.

Listening to all kinds of music.

Practice with a friend. Imagination and curiosity. Focus and relax.

Influences: Miles Davis, Maurice André and many more.

Current listening: Maurice Ravel, Leoš Janáček Dream collaborators: All my favourite musicians.

HAMED SADEGHI

T R U M P E T, F LUG E L H O RN

P E R S I A N TA R , S E TA R , O U D N E W S O U T H WA L E S Years of playing: 27 years Inspirational mentors: My Raadif teacher in Iran, Daryioush Talaei.

Proudest musical achievement: Empty Voices What is jazz?: Jazz to me is a mixture of simplicity and complexity. Jazz is life.

Best practice tip: Listen well.

Practice no matter how you feel.

Influences: Hossein Alizadeh, Keith Jarett Current listening: Tord Gustavsen Trio Dream collaborator: John Surman Place: Tehran Food: Chicken kebab Ice Cream Flavour: Raspberry hamedsadeghi.com

Gear set up: 1970 Bach 37 trumpet, 1972 Couesnon flugelhorn and various mouthpieces.

Place: Prague Ice Cream Flavour: Nocciola Animal: Magpie Festival: Villa Celimontana Festival, Rome Season: Spring www.facebook.com/mike.bukovsky

P H OTO BY A L EX A PT

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Proudest musical achievement: In 2023 I was humbled and grateful to be awarded the Lynette Irwin Composition Commission. Lynette was always such a stalwart supporter of original Australian music and the commission gave me the freedom to be creative, encouraging me to write my first large-scale composition, and the opportunity to have it premiered at the Brisbane International Jazz Festival.

What is jazz?: Jazz is this fascinating paradox to me because it offers such a juxtaposition of many things; a balance of careful preparation and improvisation, the way that we respect tradition while developing a bold individual style – seemingly opposing ideas are always so close together in the jazz world.

Ultimately, I suppose it is the freedom to explore and play in the space between.

If only I had known: I was always a little shy, so I wish I had embraced more vulnerability earlier – jumping in on jam sessions and being brave to share my music with others. I had such a strong belief that I needed to make the music perfect first, that I missed out on the chance to see how wonderful it is to fail and find your feet with others.

Best practice tip: Consume lots of art. There’s something special about the inner life you can create when you consume across genres, times, and even mediums and it is excellent for finding your own style too. Listen to the classics, listen to local artists, listen to what’s popular and outside of your genre – all art is important. As much as it is important to find what you love, sometimes it is also helpful to be able to articulate what you don’t.

Influences: Cécile McLorin Salvant is a huge influence for me. She is incredibly bold and playful while also being an absolute master of her instrument. I admire her creative spirit and desire to push boundaries with every new project.

Current listening: Gian Slater – Grey is Ground, Emma Frank – Interiors, Astrud Gilberto – The Astrud Gilberto Album, Hannah Cameron – Holding Pattern Dream collaborator: I would love to sing with Gregory Porter. I adore his rich tone and effortless style. He is a very special musician and I would love to witness a little of his magic up close.

Tune: “There Will Never Be Another You” Place: The facade of Brisbane’s Gallery of Modern Art is home to a huge light installation by James Turrell. I’m always mesmerised by the gradual shifts in colour and the sheer size of the work.

Animal: My rescue Greyhound, Curly. He has got it all figured out – he takes his time getting anywhere, will nap at any time of the day and has a standing love affair with sardines.

Season: Spring always brings a sense of new beginnings and inspiration, and I love to see nature explode into life. kayleighpincott.com

21 P H OTO BY VA N ES SA VA N DA LS E N

KAYLEIGH PINCOTT VOICE

QUEENSLAND

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Years of playing: About 25 years Inspirational mentors: I’ve been lucky to learn from many incredible teachers over the years and I often reflect on my lessons with them. The most memorable experience was my time spent with Barney McAll in the last few years of my studies at the VCA Jazz program. Barney’s guidance propelled me forward, pushing me to improve and develop my artistic voice.

Current listening: A lot of Keith Jarrett at the moment including Expectations, Radiance, Spirits and Arbour Zena; Gratitude by Cassie Kinoshi; Flicker and Polar Bird by Andrea Keller and The Closest Thing to Silence by Ariel Kalma, Jeremiah Chiu and Marta Sofia Honer.

Food: Aburi salmon sushi, pierogi, confit garlic on sourdough toast, cheese pizza with mushrooms and truffle oil. katwiktorski.com

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@katarzynamusic

Proudest musical achievement: In 2020, I produced a series of music that was recorded remotely during lockdowns. Creating music remotely was a new challenge compared to a studio experience. I love how it turned out and found the entire process incredibly invaluable and informative from start to finish.

What is jazz?: Creativity, innovation, and freedom of expression.

If only I had known: Perfectionism and unrealistic high expectations will paralyse you.

Best practice tip: It’s all about balance.

Challenge yourself with music that inspires you and stay engaged with pieces you simply love to play. A practice routine is always evolving in context to your goals.

Quality over quantity. There are many areas to cover so keep your expectations realistic, stay mindful and be kind and patient with yourself. Find a great teacher.

PIANO V I CTO RI A

KATARZYNA

WIKTORSKI

P H OTO BY G I N A P U L F E R

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Years of playing: I’ve been playing trumpet for nearly 30 years. I’ve also been singing all my life but not as a main instrument. In the past decade or so I’ve been in several groups where I sang backing vocals, and it’s really fun. As for percussion, that is a more recent thing, and mainly in the context of experimental music at the moment.

Inspirational mentors: Sandy Evans is a brilliant and generous teacher who has enriched the lives of countless musicians around the world. I owe a lot to her.

Proudest musical achievement: My suite [A] part for Sirens Big Band featuring Sandy Evans, Andrea Keller and Gian Slater. Hands down.

What is jazz?: Freedom – to not worry about whether or not what I’m playing or creating is jazz.

If only I had known: All the stuff I’ve learnt recently about Aboriginal culture, I know now that I had no idea about as a kid, or even a few years ago.

Best practice tip: Make sure you’ve got variety in your practice routine and then making it creative will help you practice for longer.

Influences: I don’t think I could choose between Barney McAll and Andrea Keller.

Current listening: “May Be” by No Plexus (it’s just one track but it’s amazing), Stepping Back, Jumping In by Laura Jurd Dream collaborator: Meredith Monk Food: Anything involving eggplant (as long as it’s cooked properly).

Ice Cream Flavour: Mint choc-chip Season: Spring ellenkirkwood.com

T R U M P E T, V O I C E , PERCUSSION N E W S O U T H WA L E S

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@ln_k_would

ELLEN

KIRKWOOD

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Years of playing: 40 years Inspirational mentors: Roger Garrood (RIP). He was my first saxophone teacher and he left me feeling inspired to practice and learn as much as I could about music after every lesson. Even more than the things they can show you about music, a great teacher will leave you feeling inspired and will give you the tools to teach yourself.

Proudest musical achievement: I actually think my new record with Paper Tiger The Stillness Between the Lines, which will be out later this year, is one of my favourites. As I get older I think I have more musical patience and am willing to let the music lead me, rather than forcing ideas into a solo.

What is jazz?: Jazz, to me, is an approach to making music. There is a certain amount of risk taking involved, with improvisation at its core and a willingness for the music to be different each and every night.

The impact of jazz: For the people that attend jazz concerts or listen to recordings, I think it allows them to realise that everything is always in flux, that things won’t stay the same and that is okay – it’s the nature of our existence.

If only I had known: You can work on finding your own voice while you’re learning the ropes.

Influences: I feel like I have loads of musical and personal influences, but John Coltrane has been a huge influence on me musically. Reading his biography also really inspires me to practice more.

Current listening: Right now, I’m listening to a lot of Walter Smith III. I think he’s one of the leading lights in modern jazz saxophone performance. The other album I’ve really been loving is a more obscure recording of Gary Thomas – Pariah’s Pariah, with Greg Osby. I love this kind of musical language, which is not the conventional approach to improvising melodies.

Dream collaborator: I really love playing with Eric Harland. We’ve played together four or five times now, including on my album The Burden of Memory. The way he creates rhythm is so melodic … I feel a constant flow of ideas to bounce off.

Animal: Dogs have played a huge part of my life and I currently have a groodle. I love that whether you’ve had a good or bad day, they are always excited to see you. jamieoehlers.com

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jamieoehlers.bandcamp.com

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JAMIE

OEHLERS S A XO P H O N E

WESTERN AUSTRALIA

Since 1987 the ARIA (Australian Recording Industry Association) Awards have been a celebration of all that is great and popular in local music; an opportunity to showcase artists to Australia and the rest of the world.

ARIA FOR BEST JAZZ ALBUM

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YEA R

WINNER

A LBUM T I T LE

1987

The George Golla Orchestra

Lush Life

1988

Vince Jones

It All Ends Up In Tears

1989

Wizards of Oz

Soundtrack

1990

Paul Grabowsky Trio

Six by Three

1991

Clarion Fracture Zone

Blue Shift

1991

The Last Straw

The Last Straw

1992

Dale Barlow

Hipnotation

1993

Bernie McGann Trio

Bernie McGann Trio

1994

Mike Bukovsky

Wanderlust

1995

Mark Simmonds Freeboppers

Fire

1995

Bernie McGann Trio

McGann McGann

1996

Paul Grabowsky Trio

When Words Fail

1997

Bernie McGann Trio

Playground

1998

Chaplin, Tinkler, Rex, Lambie

The Future in Today

1999

Andrew Speight Quartet

Andrew Speight Quartet

2000

James Muller Trio

All Out

2001

Bernie McGann Trio

Bundeena

2002

Andrea Keller

Thirteen Sketches

2003

Andrea Keller

Mikrokosmos

2004

The Necks

Drive By

2005

Paul Grabowsky & Katie Noonan

Before Time Could Change Us

2006

The Necks

Chemist

2007

Mike Nock & Dave Liebman

Duologue

2008

Andrea Keller

Footprints

2009

Katie Noonan

Blackbird: The Music of Lennon and McCartney

2010

James Morrison & The Idea of North

Feels Like Spring

2011

Elixir

First Seed Ripening

2012

Sarah McKenzie

Close Your Eyes

2013

The Idea of North

Smile

2014

Paul Grabowsky Sextet

The Bitter Suite

2015

Barney McAll

Mooroolbark

2016

Vince Jones & Paul Grabowsky

Provenance

2017

James Morrison (with BBC Concert Orchestra & Keith Lockhart)

The Great American Songbook

2018

Jonathan Zwartz

Animarium

2019

Kate Ceberano & Paul Grabowsky

Tryst

2020

Paul Kelly & Paul Grabowsky

Please Leave Your Light On

2021

Mildlife

Automatic

2022

Mildlife

Live from South Channel Island

2023

The Vampires featuring Chris Abrahams

Nightjar

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REECE CLARK

VO I C E , P I A N O, S A XO P H O N E

WESTERN AUSTRALIA

Years of playing: Singing since birth, piano for 21 years (since age five) and saxophone for 14 years.

Inspirational mentors: Allira Wilson influenced me both as a singer and broader artist to push myself and find my own voice.

Proudest musical achievement: A suite for big band, Storm Suite, that I composed in 2022 and was my first big commission work. It tied in heavily with the fluctuations of my mental health during the time while also enabling me to explore different forms of notation and freeing up the big band to be much more improvisatory and slightly less structured.

What is jazz?: Freedom of expression in music form.

If only I had known: The classic triangle of what you need to commit yourself to a project/ gig – music, money and mates – of which you need at least two. I said yes to too many projects when at university that didn’t really meet any of the criteria and burnt myself out a bit.

Best practice tip: If you’re wanting to progress in a specific way, have some form of structure going into it otherwise it’ll turn into the same noodling session from the day before. If you’re wanting to just stretch your legs, so to speak, then lean into the noodling and messing around to make sure you don’t just see it as a transactional situation; you’re still meant to have fun playing your instrument.

Influences: This changes week to week; recently they’ve included Jamie Cullum, Kurt Elling, Matt Carmichael and Yellowjackets.

Current listening: MARO, Ólafur Arnalds, Christian Scott and Jon Batiste.

Dream collaborator: I would love to work with Bob Mintzer.

Tune: “New Rochelle” by Yellowjackets Animal: A close race between the humble capybara and chicken.

Season: Summer – beach time. www.facebook.com/reececlarkmusic @reece._.clark

P H OTO BY TO M G RE B L E

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JASMINE HALL

TROMBONE, VOICE, PIANO

SOUTH AUSTRALIA

Years of playing: 12 years Inspirational mentors: Alex Taylor. He was such an encouraging teacher, pushing me to do things, especially when I felt like I wasn’t good enough. He continues to mentor me beyond our years of formal lessons and I’m very grateful to him.

Proudest musical achievement: My debut big band EP falling into your eyes with my band, minnie little big band. I was able to take influences from my many musical passions – my singer-songwriter side, my folk, jazz and pop influences and my love for musical drama – and put together this unconventional big band release.

If only I had known: That it’s not about being cool or just playing fast – it’s about making music that makes you, and at least one other person, smile or feel something.

Best practice tip: Think about the reason you are practising. Find something about the instrument or the piece you’re playing – find that thing you love about it.

Influences: Probably my dad, Mark Ferguson.

Growing up, my music diet was extremely varied. We would listen to a set of intense, heavy jazz and then end the car trip with a beautiful sweeping country song with luscious strings. I was exposed to so many styles of music that have so greatly influenced my taste in music and the way I compose.

Current listening: Köln by Marshall Gilkes/ WDR Big Band, säje (self-titled debut), Letter From Home by Pat Metheny Dream collaborator: The WDR Big Band Gear set up: I’m playing a 1960s Conn 48H Constellation trombone Tune: “I Wish You Love” music by Léo Chauliac, lyrics by Albert Askew Beach Ice Cream Flavour: Salted caramel ice-cream Animal: Giraffe Venue: The Wheatsheaf Hotel, Adelaide @jasmine.elisa.hall

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@minnielittlebigband

P H OTO BY A L EXA N D E R RO B E RTS O N

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ALEX SIEGERS P H OTO BY B E L L A M A RT I N

VO I C E NEW SOUTH WALES

31

Years of playing: Just about my whole life. My mum has a video of me singing “Waltzing Matilda” at the age of two and three quarters.

Inspirational mentors: Jo Lawry. She challenged me in ways that forced me to grow and was always honest with me.

Proudest musical achievement: My debut album From Here. It’s my largest personal project to date and I almost can’t believe it’s going to be released.

What is jazz?: Jazz to me is freedom.

So much of my musical upbringing was focused on following rules, ticking boxes, passing exams and fitting in.

I’m now exploring a musical world where I can challenge, bend and even break those rules. It feels limitless.

The impact of jazz: Jazz helps us feel.

It is mostly associated with feelings of relaxation, calm and stress relief. For me, it is often a vehicle for feeling good, nothing puts me in a better mood. It is a wonderful medium for processing all that is going on in our lives and in the world, particularly with the art of improvisation. Experiencing an artist synthesising a spectrum of feelings into music in real time can be truly cathartic.

If only I had known: People, for the most part, are happy to make music with you. If people say no, that’s okay.

You will find your people eventually.

Best practice tip: Don’t be afraid of letting go. Be a bit silly. Make weird sounds. Try strange things. Let loose.

Sometimes holding on too tightly is what is holding you back.

Influences: Lisa Young. Her music, performing and composing is the absolute zenith of music making.

Current listening: I have recently purchased a record player and have been exploring records that aren’t available on streaming services or YouTube, particularly some hard-to-find Cleo Laine and John Dankworth records and mid-20th-century Australian jazz.

Dream collaborator: Theo Bleckmann.

His work with New York Voices, and his work exploring the nexus of jazz and classical is exactly in the niche I want to grow into. He is a compositional and vocal genius.

Gear set up: My Audix OM3 microphone and if I’m doing a solo show, my RC505 tabletop looper.

Tune: “Let All Mortal Flesh Keep Silence”

by Edward Bairstow Place: Nobby’s Beach in Port Macquarie, preferably with a dog.

Food: Roti canai, preferably fresh off the hot plate on the streets of Kuching. alexsiegers.com www.facebook.com/alexsiegersmusic @alexsiegersmusic

REVI EW FRO M H E RE Alex Siegers Independent

From Here is a postcard to the Australian music world and a tribute to Alex Sieger’s vocal coach, Kerrie Biddell, who introduced her to Australasian jazz. The vocalist utilises the nuances and subtleties that define Australasian jazz with her keen ear and exquisite voice. Her album of nine compositions triumphantly blends the laidback, sophisticated rhythms and melodic inventiveness that characterise that style.

How gorgeous is her rendition of Kerrie Biddell’s “Three For All” and her inventive reprise of Sharney Russell’s “Somebody’s Daughter”? With her magnificent range and the impeccable musicianship of her stellar band, whose contributions are pivotal to the album’s charm and success, she flourishingly weaves melody with stories and emotions. Siegers delivers a performance that displays her jazz articulation, rhythm and some excellent lyric writing.

Barry O’Sullivan

33

Years of playing: 50-ish years

SAX E L LO, T E N O R S A XO P H O N E , A K A I E W I , F L U T E , A LT O F L U T E , DIDGERIDOO V I CTO RI A

ROB

VINCS

Inspirational mentors: Australian saxophonist Brian Brown and US percussionist Kenneth Nash.

Proudest musical achievement: An album entitled Re-Emergence with Evri Evripidou on bass and David Jones on drums.

What is jazz?: For me, jazz is an expression of a community of musicians making music that integrates the eternal now moment, embracing local cultural references through the art of improvisation that has been informed, but not bonded to, the African American jazz tradition. Maintaining an attitude of playfulness and experimentation.

Does jazz impact society? Yes and no. In my belief, all creative art forms are limited in expression through institutional gatekeepers.

Any creative art form, including jazz, offers the possibility of empowering an audience to understand themselves as conscious humans capable of great achievement, peaceful and empowered co-existence, purpose and joy.

The nature of political and religious structures is to emasculate creativity through embracing fear and completion as control mechanisms.

If only I had known: Each individual contributes their own music to the whole.

That there is a difference in playing from a quality of Love as distinct from playing to be “accepted” into the “jazz community”.

Best practice tip: Learn to practise from a place of love and self empowerment rather than practising from the fear of judgement from others.

Influences: An eclectic mix of Roland Kirk, Jan Garbarek, Evan Parker and Brian Brown. Also, the early electronic music of Charles Dodge.

Current listening: Baker Boy, Meshell Ndegeocello, Jimmy Giuffre, Korean traditional music Dream collaborator: This is a tough question insofar as I believe that, ideally, each collaboration allows you to explore a different aspect of your own playing. However, Vijay Iyer on piano or Bill Frisell, Terje Rypdal on guitar.

Gear set up: Temby saxello with Selmer Concept mouthpiece. Selmer Axios tenor with Morgan 9* mouthpiece.

Place: Oakland, California Season: Autumn robvincs.com

34

Years of playing: Since high school.

Inspirational mentors: Steve Brien, the first jazz musician I met and spent time with when I was beginning to learn about this world.

What is jazz?: To me it’s a foreign culture and language that I am not a native speaker of, but hope to keep studying and hopefully make some meaningful contributions to.

Best practice tip: Do a bit every day and be consistent. Also sing/hum what you’re playing to help connect ears to fingers.

Current listening: Johan Leijonhufvud Trio – Nifty Fifty, Dan Wilson – Things Eternal, Hinano Fujisaki – Home Is, Joel Trigg – Habits of the Hero Tune: “Out of nowhere” Place: Clovelly beach Animal: Cat Season: Winter yutarookuda.bandcamp.com

REVI EW M A RIGOLD Yutaro Okuda Independent

This thoughtfully constructed EP Marigold features four exciting and varied original compositions, each piece capturing a specific mood and telling a unique story. The group is reaching for something with these ambitious pieces that they execute with amazing precision. Highlights include the collective improvisation in the lush, rollingrubato opener “Marigold”, the simple motif in “Lorikeet” that is creatively extrapolated to construct an intricate, episodic journey, and the off-kilter and idiosyncratic grooves that form the basis of “Little Run” and “Vibrato”.

Yutaro’s harmonies are as rich and colourful as the beautiful artwork that adorns the album’s cover.

Stephen Hornby

P H OTO BY J ES S G L E ES O N

YUTARO OKUDA ELECTRIC GUITAR NEW SOUTH WALES

35 P H OTO BY M U H A M M A D REVA L D I

Years of playing: Melodica: 40+ years. Piano: About 40 years. Hand percussion: Nearly 20 years.

Inspirational mentors: Peter Ferdinandus.

He was my music teacher for most of the 1990s. He passed away in 2009, the same year I released my debut album, Visions.

Proudest musical achievement: I love all of the recorded works I’ve done. Every single one has its unique quality. Stories Under the Sky is the most complex I’ve managed. Most complex arrangement and instrumentation, and I had Lachlan Davidson whom I had never played with at the time to also play. Sunrise of Happiness is the most technical in terms of repertoire difficulty and the circumstances. And it’s the one that sounds most closely to my cultural roots.

Best practice tip: Be consistent, no matter how small.

Influences: Hard to name one. In no particular order: Pat Metheny, Lyle Mays, Johann Sebastian Bach, Claude Debussy.

Current listening: The Corrs are on high rotation in both of my family cars.

ADE ISHS

Place: Where I can be with my family.

Food: Dishes my wife cooks for me.

She does it with love.

Ice Cream Flavour: Vanilla ice cream and Tassie cherries are a divine mix.

Animal: Cats, cats, cats. adeishs.com @adeishs

REVI EW EX PA N SIO N ade ishs and eMotion Band Independent

PIANO, KEYBOARDS, MELODICA , DJEMBE AND REBANA TASMANIA

This EP is the eMotion Band’s follow-up to their 2019 self-titled debut. Its four songs show how far the quartet has progressed. The band, with the leader on keys and voice, Paul Bonningham on bass, drummer Lachlan Wallace and Vincent Bradley on trumpet and voice, have produced an excellent collection. From the very catchy explorations with “An Evening In St Kilda” and its discrete synth touches, the upbeat “In The Shadow Of Trees”, to the sparse, minimalistic beauty of the aptly titled closer, “Reduced”, the EP bears repeated listening.

Michael Prescott

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Years of playing: I’ve played double bass since I was 18, so coming up 12 years now. I started singing as a part of my practice five years ago.

Inspirational mentors: My first music teacher – John Colwill. He taught me piano for 13 years from when I was four years old. He was the most patient teacher; I could never stick to the page, and instead of staying within the box, he did the opposite. He encouraged play, improvisation, use of colour ... and became one of my most loved mentors all throughout my childhood and teenage years. Also – my parents. They are both musicians, and without their encouragement, I wouldn’t have pursued the bass or channelled my intuition.

Proudest musical achievement: The Odd River released last year on Earshift Music. It features a soundtrack to a 30-minute film about genetically modified vegetables.

What is jazz?: Jazz to me is a complicated word, as it can encompass so many sub-genres and stylistic influences. I like to think of it as a medium of music where spontaneity, improvisation and collaboration are key.

If only I had known: Genre labels are there to guide learning, but you can feel free to break outside of this. There is no “correct” way of playing an instrument – each person has a different body, a different mind and a different way of hearing things – and this is what makes individual voices in music so exciting.

Best practice tip: Practice is a daunting word, but it doesn’t have to translate to eight hours spent in a practice room. My whole musical life I have struggled to follow a practice regime, so instead try to take inspiration from both musical and non-musical activities to fuel my creative ideas. This includes taking walks, listening to my favourite music, painting, experimenting in recording software ... the list goes on. I approach practice as play; I always want to feel as though I’m applying my best self to my art.

Influences: My biggest influence is my environment and the sounds that we can create on our instruments in response or in imitation. The options are infinite.

Current listening: Sigur Rós’s new album ÁTTA. And the soundtrack to the recently released film Poor Things by Jerskin Fendrix.

Place: Kuopio, Finland – where I grew up as a young child.

Food: Carrots Animal: Brown bears helensvoboda.com

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@helensvoboda_music

REVI EW LAVA

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Panghalina

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Room40

Panghalina is bassist/vocalist Helen Svoboda, drummer/vocalist Bonnie Stewart, and drummer/synths Maria Moles. You could be forgiven for thinking this line-up constitutes a restricted musical palette, but in the hands of these accomplished musicians, such a mix – bass, drums, voice and synths – proves capable of evincing celestial choirs, or plumbing the unfathomable beauties of the natural world: dense forests, windswept seascapes, whale song, the drift of tides. Lava revels in rich colouration, ambient textures, drones, generated via extended arco bass passages and delicate percussion, overlaid with ethereal voices. The results are haunting, hypnotic, otherworldly. Svoboda, Stewart, and Moles reveal themselves as fearless improvisers, exploring the outer margins of sound and silence.

Des Cowley

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D OUBLE BAS S, VOICE, COMPOSITION V I CTO RI A

HELEN SVOBODA

38

Years of playing: 50 years Inspirational mentors: Tony Gould – I learned from Tony from the age of 14 through to the first couple of years at VCA. Proudest musical achievement: The string arrangement for “Cold Grey Moon” on the Black Sorrows Faithful Satellite album.

What is jazz?: Jazz is an expression of inner vision which can be fused with other people, players or audience … there’s always another hidden doorway or secret garden.

The impact of jazz: It is part of the unpredictable mystery and fun, in an increasingly homogenised world.

If only I had known: Just write and play your own stuff as much as you can, in between trying to make money, make your own style.

Best practice tip: Do practice technical stuff: scales, arpeggios, Liszt Exercises and make them musical.

Listen to yourself. Catch-22 is you need enough technique so you don’t have to think. Then you can hear yourself.

Influences: I love Keith Jarrett but Pinetop Smith changed my life way back when. So Pinetop.

Current listening: Sullivan Fortner Tea For Two. Dream collaborator: Björk/Oliver Lake Gear set up: For electric gigs Yamaha P125, Wurlitzer, Mainstage with East West, Spitfire and some Native instruments Organs and Synths Tune: “Yaqui Indian Folk Song” from Treasure Island by Keith Jarrett.

Place: Shaftesbury Avenue London, I have a lot of great and surreal memories there.

Ice Cream Flavour: Rum’n’raisin Animal: Wedge-tailed eagle Venue/Festival: Jazzlab is special. Would love to play at Montreux @therealjohnmcall

P H OTO BY RI C H A R D T U RTO N

JOHN MCALL PIANO V I CTO RI A

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D O N B A N KS M U S I C AWA R D Presented annually by the Australia Council (now Creative Australia), the Don Banks Music Award publicly honours the outstanding and sustained contribution by a senior artist to music in Australia. It was established in honour of Don Banks, Australian composer, performer and the first Chair of the Music Board.

D ON BA N KS MUS IC AWARD (JAZZ A RTI ST RECIP IE NTS) YEA R

AWA RD ED TO

1998

Bernie McGann

2001

Allan Browne

2008

Bob Sedergreen

2009

Tony Gould

2012

Jon Rose

2014

Mike Nock

2022

Judy Bailey

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CLAYTON THOMAS Years of playing: I’ve been playing upright bass since I was 24 years old.

Inspirational mentors: I play bass because of William Parker, an astounding bassist and improviser from New York. His sense of play, openness and universality continue to inspire me. I’ve also been very lucky to have Barre Phillips, Peter Kowald and Henry Grimes as friends and teachers early on. Their integration in my life as colleagues (on some level) is one of the reasons I consider the act of making music and contributing to the world of improvisation as central to my life.

Proudest musical achievement: Creative Construction Set with Splitter Orchester and George Lewis. After moving to Berlin in 2007, I was central to the creation of a large improvising orchestra based on Splinter Orchestra here. The Berliner Jazz Festival supported us to collaborate, so we got to spend a week with George, to create and record a new piece, and perform at the festival. I’m proud of it, in the sense that someone who inspired my large ensemble social journey ended up being a collaborator, and in the end, cocreated a stunning piece of music.

What is jazz?: It’s permission to explore, to give 100% and to be uncompromising in the pursuit of connection within your community.

The impact of jazz: All music is a model for society, utopian or dystopian. Jazz has the capacity to live out ways of connecting, without the given hierarchies of other forms. At its best, jazz can reveal ecstatic connections, spiritual experiences, and pragmatic problem solving simultaneously – which is a fine way for society to operate.

If only I had known: Pitch is relative.

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DOUBLE BASS, PERCUSSION, ELECTRONICS N E W S O U T H WA L E S

Best practice tip: I use a metronome on 30 bpm, accompanied by a drone in all 12 keys, moving at five minute intervals to practice slow tempo clarity and intonation. My best tip is: do it regularly and do it slow.

Influences: Tony Buck, the drummer from the Necks has had a lasting influence on my playing.

He came to the first NOW now festival, liked my Sly and the Family Stone T-Shirt and asked if we could play. I broke two bows in the first set trying to keep up. The lessons I learned on that gig, as far as listening – how to hear and watch, how to respond in the moment – continue to be the foundations of my playing. Since then we’ve played hundreds of concerts together. It is because of him that I was able to keep my shit together with drummers who were and are lightyears ahead of me as far as chops and experience go – people like Paul Lovens, Han Bennink, Michael Zerang, Will Guthrie and Laurence Pike. His major influence, beyond listening in the moment, is love. And to

have that influence in my life, to have it be totally reasonable to be completely in love with music, that influences every musical decision I make.

Current listening: David Darling’s Dark Wood Dream collaborators: I’d love to play with Hamid Drake and David Murray while that is still temporally possible.

Gear set up: I have a 3/4 German flatback from the turn of the century, with the action cranked up, and Thomastic Stark strings. It’s quite an unfriendly situation.

Tune: “Nature Boy” Place: The Nut in Stanley, on the northwest coast of Tasmania Food: I eat a lot of vegie sausages Ice Cream Flavour: Mint slice Festival: Nickelsdorf Konfrontationen, Austria Season: Not Berlin Winter claytonthomas.bandcamp.com

42 P H OTO BY RH E A CA L DW E L L

MATT

ROCHE

G U I TA R , O B O E V I CTO RI A

Years of playing: I’ve been playing guitar approximately 15 or 16 years. There have been some breaks in between so I am not sure the exact date. I have only been learning oboe for a year, but I love it. My long term goal is to be able to improvise on the oboe.

Proudest musical achievement: I think the composition “Sea Change” from the last Soft Power album Bucolica which came out in 2019. It suits the band so well, it’s meditative, resonant but emotionally restrained, a bit surprising as well with its twists and turns. I also think “Getting Out of the Way of Yourself” from Easy Listening is a serious ear worm.

What is jazz?: Jazz for me has always been something that is undefined, alluring, a concept or a feeling that cannot be communicated in words. I struggle with my communication sometimes and am unsatisfied with what I say out loud, but jazz and improvisation hits closer to what I actually want to say.

If only I had known: That you do not need to wait for people to ask you to do things. Start your own band, start your own projects, invite people to be a part of it, make some mistakes and learn from it. Try again.

Best practice tip: Figure out what works best for you. I’ve settled over the years for following routines and work best when I am consistent, introduce new ideas slowly and spend a lot of time practicing the same things. Look to the big picture of why you are doing something and remove things that are unnecessary and not suited to your musical goals.

Food: Bananas matthew-roche.com

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www.facebook.com/hydrafashionweek

CHARLIE WOODS

T R U M P E T, P E R C U S S I O N , LO O P I N G U S I N G B R AS S , DRUMS, VOICE V I CTO RI A P H OTO BYJA M I E M C

Years of playing: 19 years Influences: At the moment I am really inspired by my local music community and some artists such as Bumpy, Kiwat Kennell, Alf the Great and Kee’ahn. I am also heavily inspired by artists who regularly use and experiment with live looping such as Tuneyards and Little Dragon.

Dream collaborator: I really want me and my sister Miri to do an episode of Playschool and collaborate on a song. It’s my dream come true. And I’d absolutely love to collaborate on a song with Baker Boy; he has integrity and is a fantastic and deadly role model.

Current gear set up: My act Charlie Needs Braces uses a Boss RC 505 Tabletop Loopstation going through an interface and into Ableton where I have a setting which boosts the low end so when I loop the Tom Drum it sounds biiig and much lower. I also do this with the trombone which acts like a bass, and then add delay and effects to the vocal and trumpet loops. I make the loops using a mic so it does pick up a bit of bleed so I’m experimenting with using a gate pedal to block some of the extra external sounds on stage.

Special place: Being on my mob’s sacred Kariong lands, Guringai Country, and at the grandmother tree is a very special place. I feel grounded, calm and centred when I’m there.

Food: I love raspberries.

Animal: The echidna is my personal totem and my favourite.

Festival: Womadelaide is amazing.

Season: Autumn in Naarm linktr.ee/charlieneedsbraces

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@charlieneedsbraces

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Years of playing: I began teaching myself guitar when I was eight. Just after that I began taking lessons on the clarinet for a few years and then, even though I kept playing guitar through my teens I didn’t really study music or have much inspiration in the little town I grew up in. In my late teens I moved to Wagga Wagga and the scene for music and theatre was pumping. This is when I first got the bug for free improvisation and where the seeds of Bohjass were sown and I began playing sax not long after that.

Inspirational mentors: Firstly it was Albin Berky, a Czechoslovak migrant that studied at the Bratislava Conservatoire, then others including Ike Isaacs and Roger Pell. But the lasting influence was Brian Brown, to whom I owe a great debt for his belief in what I was doing.

Proudest musical achievement: The one I’m creating right now: a social concept piece with a 14-piece band called Into the low rents/compassion. We all turned up at the studio and the players hadn’t seen the music and we’d had no rehearsals, but I had it so each song had a repetitive rhythm chart, melodies, chords and so on. I love a guerrilla-style recording and production process, as I believe it brings out better music.

Influences: Human influences include Germaine Greer, Harold Budd, Tangerine Dream, Charles Bukowski, Julien Wilson, Belinda Woods and all the people that are a part of our scene.

Current listening: Mainly Harold Budd, Tangerine Dream, Hearts of space (LA radio show for 40 years), Gato Barbieri, John Klemmer. Probably the music I listen to the most is my favourite rock band, Arab Strap and the first couple of Enigma records.

Dream collaborator: Louie Burdett but unfortunately his drumming days are over or so he told me. We could do some electronic stuff though. I would love to have some studio time with Will Guthrie as well.

Gear set up: 1933 King Zephyr tenor saxophone, 1920s Buescher True Tone alto sax, 1920s Buescher True Tone soprano sax, 1970’s Buffet R13 clarinet, Boss Guitar MultiEffects, Boss Bass Multi-Effects. I prefer to use a Shure SM58 for my straight sound and Shure SM57 for my effects.

Tune: At the minute it’s “Kebabylon” by Arab Strap Food: Anything we make with food we have grown.

Ice Cream Flavour: When I was young it was Golden Gaytime.

Venue/Festival: Bar 303 of course. I miss the High Vibes festival, it was wild and exciting. www.facebook.com/bohjass timpledger.bandcamp.com

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TIMOTHY PLEDGER

G U I TA R , F L U T E , C L A R I N E T, S A XO P H O N E V I CTO RI A

REVI EW IT ASKS N OTH IN G Bohjass Independent

Saxophonist Tim Pledger is a force of nature, which begs the question: Why isn’t he better known? Given renewed interest in the spiritual jazz of Pharoah Sanders and Alice Coltrane, it is a question worth asking. After all, Pledger’s free-floating ensemble Bohjass has been mining this rich seam for nigh on four decades, displaying scant regard for commercial success. Their long-term residency at Bar 303 in Northcote is the stuff of legend, spawning a fanatical – if tiny – cult following. The band’s fluid line-up – comprising core members like flautist Belinda Woods, augmented with a rotating cast – reflects Pledger’s singular modus operandi which, while outwardly shambolic, masks a visionary dedication that invites comparison with the great Sun Ra. Bohjass’s latest it asks nothing is a bona fide monster, its nine extended tracks, played by an eightpiece, delivering nearly 80 minutes of spiritual/free jazz. In short: a sprawling, trippy, trancey, percussion-fueled, cosmic brew.

Des Cowley

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ADAM PAGE

S A X O P H O N E , C L A R I N E T, F L U T E , N AT I V E A M E R I C A N F L U T E S , K EYBOA R D S , BAS S , LO O P P E DA L SOUTH AUSTRALIA

47

Years of playing: I started clarinet in Year 3 and sax when I was in Year 9 ... I’m now 45.

Inspirational mentors: My Year 12 drama teacher, Shaun Hutchison. I was living in a country town, somewhat sheltered, and he introduced me to a myriad of wild and wonderful things that set me free from what I thought was the “norm”. It was this mind-widening that really helped me develop my improvisational voice on the saxophone and many aspects of my world view and relationship with art to this day.

What is jazz?: Jazz to me is more than a language, it’s a primal form of self-expression.

It is an art-form that invites different voices developed through the personal experiences of those performing. You can speak to one another in ways that transcend any formal language, and when you reach that point on stage there really isn’t anything like it.

If only I had known: I am very content in knowing that I don’t need to know. My mistakes are the true teachers. If someone prepared me for them then I would not learn anything. Ok, I guess there is one ... I should have listened to those people who told me I should drink less ... but I already knew that.

Best practice tip: Not really a tip, more of a statement, and a well worn one at that: The hardest thing about practice is getting the horn out of the case.

Influences: I find inspiration in everything and everyone. Take, for example, my “drive” when playing the sax. I channel Eddie Van Halen. My all-time favourite horn players would have to be Trane, Sonny (Rollins and Stitt), Brecker, Dexter, Kenny Garrett, Julien Wilson, Zac Hurren, Jason McMahon and Tom Noonan. But if I was to choose one artist that has been with me since the start of my musical journey, it would have to be the vocalist Mike Patton.

Current listening: The Vampires – Nightjar, INXS – Kick, Talking Heads – Fear of Music, both albums by The Smile, Chicago Symphony Orchestra with Fritz Reiner – Pines of Rome, Freedom of Fear – Carpathia, Infectious Grooves – The Plague That Makes Your Booty Move... It’s The Infectious Grooves, Moor Mother and billy woods – BRASS, Alabaster DePlume – GOLD

Dream collaborator: Mike Patton Gear set up: 1969 Selmer Mark VI Tenor, Otto Link New Slant 8* mouthpiece, D’Addario Select Jazz 3M reeds. Effects: Boss RC600 loop pedal, Strymon Big Sky Reverb, ElectroHarmonix POG2, Electro-Harmonix POG2 Place: Wellington, New Zealand Food: Mexican Ice Cream Flavour: Stracciatella Chocolate Chip from Bottega, Henley Beach.

Venue: My favourite venue has to be The Wheatsheaf Hotel adampage.com.au www.facebook.com/egapmada @egapmada

REVI EW STASIS A N D FLUX: P RELUDE Adam Page Independent

Stasis and Flux: Prelude is a unique auditory experience by a wildly creative multiinstrumentalist. Adam Page sat down to a live audience on 29th May, 2023, surrounded by a handful of instruments and, with the help of a Boss RC600 Loop Station, proceeded to call forth some of the most grooving, texturally fascinating and harmonically satisfying tunes.

Completely. Improvised. The result – thankfully – was captured and is now before our ears in the form of this record. Never straying into the repetitive, this album is an honest work of creative genius. One I will certainly continue to revisit.

Josh Underhill

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LACHLAN DAVIDSON

SAXOPHONES, FLUTE, PIC C OLO, ALTO FLUTE, CLARINET, BAS S CLARINET, OBOE, C OR ANGLAIS, REC ORDER, TRUMPET, FLUGELHORN VICTORIA

Years of playing: 48 years

Best practice tip: Patience.

Inspirational mentors: Craig Seymour, my first and toughest teacher.

Influences: David Sanborn, though I have made a point of spreading my influences broadly.

Proudest musical achievement: The Serious Blues Quartet What is jazz?: Jazz is an attitude of freedom of expression that has brought me out of myself but also presented many challenges to my confidence which continue to need addressing.

The impact of jazz: Jazz offers an escape for audiences from too much structure and overcontrol that they experience in their every day lives. Jazz showcases musicians being in the moment, baring their souls, risking failure and magically making stuff up on the spot, and somehow communicating with audiences in an abstract way.

If only I had known: Anxiety can be more of a hindrance than you might be aware.

Current listening: Steely Dan (always) Dream collaborator: Tony Gould (and I have) Gear set up: 1935 Selmer Balanced Action alto sax with Meyer 6 and Vandoren ZZ 2.5 reeds, 1973 Selmer Mk VI tenor sax with metal Otto Link 7* and 2H D’Addario Jazz Select Filed reeds.

Tune: “Joy Spring” Food: Meat pie Animal: My dog, Casper Venue: The Paris Cat Jazz Club lachlandavidson.com.au

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C OMPOSER, DIRECTOR, SAXOPHONE NEW SOUTH WALES

JENNA CAVE

P H OTO BY N O N I CA R RO L L P H OTO G RA P HY

Years of playing: I started focusing on large ensemble jazz composition 20 years ago.

Saxophone I’ve played on-and-off for 29 years.

Inspirational mentors: Miroslav Bukovsky was my mentor for three years at university. He wins.

Proudest musical achievement: Grief, Hope, Love recently recorded at ABC featuring Kirstin Berardi would be pretty high on the list. Also my piece “This Too Shall Pass” on my Divergence Jazz Orchestra album Shadows and Light.

What is jazz?: Freedom of expression and groove.

Best practice tip: Make time and space for working on your music, but don’t push yourself endlessly. Life is long – there will be plenty of time to work on your music; but it’s also short – so don’t punish yourself for the sake of art. Make time to look after your health and spiritual wellbeing, sleep well, live a good life and then the creativity will flow much more effortlessly.

Influences: I’ve had so many musical influences who I’ve been obsessed with for a time. I’ve also had various role models inside and outside of music. I would say the women in my family on my Mum’s side (My Mother, Aunt, Maternal Grandmother) are/were all particularly tenacious and accomplished in their careers and creative fields; which has been a huge influence on me in terms of not being shy about going after my own creative career goals.

Current listening: Ravel’s Daphnis and Chloe Tune: “Diana” by Wayne Shorter Animal: My cat Festival: I used to love going to Wangaratta back in the day Season: Spring jennacave.com divergencejazzorchestra.com

50

P H OTO BY M AX RO UX

CHERYL

DURONGPISITKUL A LT O S A X O P H O N E , COMPOSER V I CTO RI A

Years of playing: 21 years Inspirational mentors: Tony Hicks was my first teacher throughout all of my high schooling years. He built the foundations of my playing while allowing me space to explore anything that I was interested in.

Proudest musical achievement: My most recent work, I Still Miss You, is the largest and most elaborate piece I have written. It took three months of researching my own traumas to inform the work.

What is jazz?: Jazz to me originated from a combination of Black oppression and exploration in New Orleans and New York. The term has expanded to include any form of boundary pushing tied to its now very loose framework.

I do like the idea of jazz as an inclusive music, accepting of all forms of expression.

If only I had known: Music is not a competition. The best thing you can try to do is sound like yourself.

Best practice tip: Listen widely and deeply and stay open.

Influences: Tyondai Braxton, John Hollenbeck, Vijay Iyer, Björk, Egberto Gismonti, Esperanza Spalding, The Bad Plus, The Punch Brothers and so many more.

Current listening: Roomful of Teeth, Milton Nascimento, Brad Mehldau’s Finding Gabriel and Jacob’s Ladder Venue: The Brunswick Green and Bar 303 – open and accepting of all.

Season: Autumn www.facebook.com/CherylDurongpisitkulMusic @cheryldurongpisitkul cheryldurongpisitkul.bandcamp.com

N AT I O N A L J A Z Z AWA R D

51

THE NATI ONAL JAZZ AWARDS HAVE BEE N A HI G HLIG HT OF THE WANGARAT TA FESTIVAL OF JAZZ AND BLUES EACH YEAR SINCE THE FESTIVAL BEGAN I N 1 9 9 0 .

THE AWARDS ARE D ESI G NED TO PROVIDE ENC OURAG EM ENT AND EXPOSURE TO YOUNG , EM ERG ING M USICIANS (UP TO 36 YEARS OF AG E).

AWARDED ANNUALLY WITH THE FEATURED I NSTRUM ENT ROTATING EACH YEAR.

YEAR

NAME

I N ST RUME NT

1990

Barney McAll

Piano

1991

Mark Fitzgibbon

Piano

1992

Jann Rutherford

Piano

1993

Tim Hopkins

Saxophone

1994

Julien Wilson

Saxophone

1995

Elliot Dalgleish

Saxophone

1996

Scott Tinkler

Brass

1997

Will Guthrie

Drums

1998

Michelle Nicolle

Vocals

1999

Matt McMahon

Piano

2000

James Muller & Stephen Magnusson

Guitar

2001

Brendan Clarke

Bass

2002

Roger Manins

Saxophone

2003

Phil Slater

Brass

2004

Felix Bloxsom

Drums

2005

Elana Stone

Vocals

2006

Jackson Harrison

Piano

2007

Aaron Flower

Guitar

2008

Phil Stack

Bass

2009

Zac Hurren

Saxophone

2010

Eamon McNelis

Trumpet

2011

Tim Firth

Drums

2012

Kristin Berardi

Vocals

2013

Joseph O’Connor

Piano

2014

Carl Morgan

Guitar

2015

Sam Anning

Bass

2016

Mike Rivett

Saxophone

2017

James Macaulay

Trombone

2018

Alex Hirlian

Drums

2020

Lauren Henderson

Vocals

2021

Matthew Thompson

Piano

2022

Peter Koopman

Guitar

2023

Blakely McLean

Bass

52

MARTHA BAARTZ SAXOPHONES, FLUTE NEW SOUTH WALES

Best practice tip: Try to be mindful and have a plan of action.

Influences: The saxophone greats: Dexter Gordon, Sonny Stitt, Cannonball Adderley, Maceo Parker, Candy Dulfer, Pharaoh Sanders, Michael Brecker, Sonny Rollins and I’m loving Nubya Garcia at the moment.

Years of playing: 34 years Inspirational mentors: Tony “Spoons” Buchanan, most well-known for his time in iconic Australian fusion band Crossfire.

Proudest musical achievement: “Little Warrior” from my third album Dream Drops.

Also “Scrumptious” with Nichaud Fitzgibbon from 12 Salutations, my second album collaboration with Lliam Freeman.

What is jazz?: Emotions, release, connection and tenderness.

The impact of jazz: It ignites inspiration and etches new pathways in the brain.

If only I had known: How to manage the stress and anxiety behind the work we do.

Current listening: Art Pepper’s Living Legend Dream collaborators: I’m working with them now: Nicki Parrott, Steve Russell, Dave Sanders and Louise Denson.

Gear set up: Open-hole Yamaha 472 Flute, 1958 Selmer Mark VI alto sax with NY Meyer 5* mouthpiece and RW 3S reeds, 1948 The Martin Committee III tenor sax with Florida Otto Link 7* and RW 2.5H reeds.

Venue: The Brisbane Jazz Club. A beautiful old Queenslander, right on the Brisbane River and run by volunteers with a full and rich support network – it’s all about the love.

Season: Winter on NSW’s North Coast www.facebook.com/profile. php?id=100063450054806

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Years of playing: 33 years Inspirational mentors: Victoria Burley put me onto Les Six for which I’m eternally grateful.

Donna Coleman totally reshaped my technique and showed me the sheer beauty the piano can produce. Andrew Legg showed me the importance of gospel music to the canon. The best pull quote I have is from having a few lessons with Laurent de Wilde when I presented an original tune, and proceeded to fumble it ... “Yeah, you gotta be able to burn on your own tunes, man.”

The bandstand has been the ultimate guide.

Proudest musical achievement: I’m gonna list three: Harmony by the Damien Kingston Quartet, John Scurry’s Post Matinee, and Melbourne by the Leigh Barker Band.

Best practice tip: Do it every day. Find things that you like, but can’t play yet – go slow, and work them out. Technique is crucial. Technical mastery + exploration of your musical tastes = the ability to really express yourself.

MATT BODEN PIANO TASMANIA

Dream Collaboration: Excellent question ...

I’m super happy collaborating with the current fantastic crop of musos I get to play with.

If only I had known: Go slow. This lasts a lifetime and beyond.

What is Jazz? Jazz is a sense of freedom and self expression, a shared understanding, a place for people to grow as humans ... and the only place you can really swing.

Current Listening: Shai Maestro Live at the Bimhuis, Martha Marlow’s new record Medicine Man, Bakgrundsmusik by Konrad Agnas, Per “Texas” Johansson and Johan Graden.

Tune: Can’t ever say no to “Night and Day”.

Place: Hobart Animal: Dogs FTW mattboden.com

54

Years of playing: 40+ years on the double, bit more on the elecky.

Proudest musical achievement: The newest stuff is usually my fav which would be the latest Boof record from the end of 2023. The first Pearly Shells record from 1998 was a difficult birth that worked out good. There’s another 20 or so albums – hard to pick between your children.

What is jazz?: A label with a lot of baggage.

The impact of jazz: Back in the day, jazz had a big impact on popular music generally, on through pop culture and down the generations. These days though, if you’re starting a band playing Louis Armstrong Hot Seven stuff, I’ll come and see it, but don’t expect to impact society.

Best practice tip: Gig a lot. When I’m not gigging a lot, I use the play-along feature in iReal Pro, alternating between the melody and walking through the chords. But it’s always better to play with other people when possible.

Influences: Bass players Ray Brown and Willie Dixon, singers such as Ray Charles and Billie Holiday, and music-makers including Count Basie, The Beatles, Captain Beefheart, Professor Longhair, Louis Jordan, Slim Gaillard, Neil Young, Hank Williams, Nat King Cole, Django and more.

Current listening: The radio – mostly 3PBS shows including Richie 1250’s Stone Love, Black Wax, Jumpin’ the Blues, Homebrew, as well as 3RRR and 3CR too.

Gear set up: Double bass – gut strings, high action, disc pickup clipped on the bridge, GK 100w amp. Electric bass – Fender Precision (’67), don’t change the strings, same amp.

Tune: “Moon River” is the one I wish I wrote most, with “Stardust” and “Body and Soul” in the Top 5.

Place: Altona Beach, swimming off the end of the pier.

Venue: The small Melbourne venues where you can see/hear music close up and intimate – Lomond Hotel, Shotkickers, Ragtime Tavern, The Rooks Return, Rainbow Hotel and all the rest. thepearlyshells.com | @thepearlyshells www.facebook.com/stevepurcellmusic

STEVE

PURCELL D OUBLE BAS S, ELECTRIC BAS S, GUITAR VICTORIA

55

Years of playing: A very long time. Started clarinet age 11, guitar age 12, the Greenwood leather bowhorn in 1994 when it was invented.

Inspirational mentors: Bill Smith: clarinet extended technique pioneer, Brubeck’s clarinetist from Mills College and Octet days, and an always curious, generous human being. I miss him.

KARLIN LOVE

CLARINETS, AC OUSTIC GUITAR, GREENWOOD LEATHER BOWHORNS TASMANIA

Proudest musical achievement: That’s a tough one. On Power, a three-movement concerto for electric guitar and wind ensemble. Or Journey into Acoustic Leather Music by The Chordwainers, a three-disc album.

What is jazz?: Jazz is a complex musical megathing, with a rich history and many diverse streams and branches. For me, it’s mostly an attitude of approaching music-making with an open mind to the moment and situation, to the others in the space, whether they are making or absorbing sounds. That “now-and-here” quality necessitates responsiveness in various musical, artistic and social elements, which could be called improvisation. I don’t draw firm boundaries between classical, jazz, folk, klezmer or experimental practices. I engage with them all and appreciate how they inform each other.

Best practice tip: Do it. Beyond that, trade phrases with recordings; listen for maybe eight bars then play for eight. It gets my imagination infected with ideas from great players, without copying them.

Current listening: Noema by David Orlowskys Klezmorim, beautiful jazz/klezmer fusions.

Super sweet and expressive clarinet tone. The arrangements even include pipe organ sometimes.

Dream collaborator: Satsuki Odamura – I love the koto, but especially love Satsuki’s energy and practice of collaborating with musicians from other traditions and styles.

Tune: At this moment, “A Child Is Born”. At another moment, it could be anything.

Season: Spring karlin-love.doomby.com www.facebook.com/karlinlovemusician soundcloud.com/karlinlove

56

Years of playing: 45 years Inspirational mentors: I still remember my first instrumental music lesson, in Year 9, on the bassoon, which I studied to Year 12. There were two teachers involved – Mr Davis and Mrs Ovens. I caught an infection that day for which, thankfully, there is no cure.

Proudest musical achievement: My flagship project – 32 Bars. I have tasked myself with composing 32 brand new songs, in the grand tradition of what is now the “Great American Songbook” – and filming them live in 32 different music venues. We filmed the 16th song at the Brunswick Ballroom just last week, so from that perspective we are at the half-way mark.

What is jazz?: To be honest, it’s more interesting for me to think about what jazz is to others. Some people say, “I hate jazz,” when they don’t like some types of jazz. Other people say, “That’s not jazz,” when what they really mean is, “That’s not what I call jazz,” or “That’s not the jazz I like.” What is wonderful is that so many people say, “I love that,” when they are hearing something that somebody – anybody – might call jazz.

The impact of jazz: My perspective is that there is a diversity paradox in Australian jazz – that is, our audiences are fabulously diverse and reflective of our Australian society, but our practitioners are often dominated, frankly, by people who look and sound like me. So in this way I would say that jazz impacts Australian society positively, but impacts many Australian practitioners negatively. With this in mind I think jazz leaders have an opportunity to shift this negative to a positive and believe, as I do, that we can do better than what we’ve achieved to date.

If only I had known: I think about “lead sheets” in the context of Schenkerian analysis; they are reductive in a similar way. It licenses a player to read it as a guide, not a script. It’s quite a skill and I don’t expect to ever “master” it, so to speak. Though, I wish I had come to this perspective on lead sheets earlier than I did.

Best practice tip: Learn from others. Play yourself.

Influences: For me, the jazz tradition, from at least the 1920s, includes musicians taking up popular songs and re-inventing them. In this way I see song composers as being my greatest influence, both as a composer and a performer. Because a song is generally both music and lyrics, it’s hard to go past Cole Porter as a songwriting influence because he wrote both the music and lyrics to, they say, about 800 songs. I’m not aware of anyone who comes close to that, before or since.

P H OTO BY J I M MY H O RN E T

57

Current listening: To support my own songwriting development – melodically, harmonically and lyrically – I collaborate with wonderful musicians to create tribute shows to composers that we admire. For this reason right now I’m listening almost exclusively to Arlen, Gershwin, Porter and Audioslave.

Gear set up: A gorgeous, brand-new Gibson ES335 that I found recently in Tokyo, a Fender Tonemaster FR-10 power amp with a NUX MG-30 amp modeller, and Xvive U2 wireless system rather than guitar cables.

Tune: “Stardust”, music by Hoagy Carmichael, lyrics by Mitchell Parish Place: Right now it’s Tokyo, but if I had to choose only one place it would be Paris.

Food: Chicken karaage – a great Japanese tradition Animal: The pelican markmorand.com

G U I TA R

V I CTO RI A

MARK

MORAND

58

Years of playing: Around 40 years, ever since I figured out the James Bond theme by ear. It was the only thing I liked to play over and over for the first few years ... my poor parents.

Dream collaborator: Top of my bucket list would be a collaboration with Wendy and Lisa (Wendy Melvoin and Lisa Coleman from The Revolution).

Inspirational mentors: Steve Sedergreen changed my life when he saw I had some potential and took me under his wing.

Gear set up: Yamaha CP70 electric grand (home), Crumar Mojo for Hammond and clav, Crumar Seven for piano and Rhodes, Oberheim OB6 and an ASM Hydrasynth.

Proudest musical achievement: I think my absolute favourite tracks are the ones I recorded on my first trip to Minneapolis, “Clipnosis” and “Out There Bout There” from Lake Minnetonka's first album Melbourneapolis.

Those two tracks hold a special place in my heart and feature Eric Leeds on sax, Dr Fink and myself on keys, Sonny T on bass, and also Cory Wong’s drummer Petar Janjic.

The impact of jazz: Jazz is a revolutionary artform that can take almost any source material and transform it into a vehicle for improvisation. Whether you engage with jazz as a listener or a performer, jazz teaches us to contend with (and even embrace) the unexpected, and fosters compassion, empathy and communication both within the ensemble, and between the ensemble and the audience.

If only I had known: Listen to the bass. It’s telling you everything you need to know about the harmony and form of the tune.

Best practice tip: Always pair your theory studies with appropriate repertoire so you learn the aural flavour of the scale or chord sequence.

Whatever technical stuff you’re working on, find a way to put it into a tune you really like, and then shed that piece till it’s smoking!

Influences: I’d have to say Harry Connick Jr. for the way he blends New Orleans piano styles with modern jazz. Monk was my strongest early influence. In terms of arrangement and composition, it’s Prince – Miles wasn’t kidding when he referred to him as a modern day Duke Ellington.

Current listening: I am always hard at work learning Bond songs; at the moment I’m doing some very in-depth re-arrangements of “Moonraker” and “Live and Let Die”. I’m also listening to a lot of 90s Bowie, particularly from the album Earthling, and transcribing the various parts to turn them into jazz.

Tunes: Cy Coleman’s “The Best Is Yet To Come”, Janelle Monae’s “Tightrope” Places: Melbourne – The Paris Cat, The Astor Theatre, Rolling Stock and Bighouse Arts.

Overseas, I’m split between Minneapolis and New Orleans.

Animal: Cats and bats are my jam.

Festival: New Orleans Jazz Fest – there’s nothing like it! www.facebook.com/adamrudegeairmusic adamrudegeair.bandcamp.com

REVI EW REA L C O O L WO RLD The Bowie Project Independent

Real Cool World is the fifth entry for The Bowie Project, led by Melbourne-based pianist Adam Rudegeair. The group reinterpret tracks from David Bowie’s extensive back catalogue in a jazz and jazz-adjacent context. Whilst the mission is no different here, the execution is fresh and listenable, even for a Bowie agnostic such as myself. Thom Mitchell (drums), Tim Agius (bass), Phil Hayter (saxophones) Tobias Bottrall (trumpet) and Rudegeair clearly have a blast playing together, creating some fun, swinging moments right through. Whether identifying Bowie tunes or simply immersing oneself in the Real Cool World, the experience promises enjoyment.

Josh Underhill

59

ADAM

RUDEGEAIR P I A N O, K EYBOA R D S V I CTO RI A

60

ANDREW

CHRISTINA FINCH

BUTT

61

CAMERON

MCINTYRE P H OTO BY B O N N I E JA R RE T T

ERIC

AJAYE

62

ANDREW

C H R I ST I N A

BUTT

FINCH

SAXOPHONES, FLUTE, CLARINET, C OMPOSER

SAXOPHONE VICTORIA

QUEENSLAND

Years of playing: 40+ years Inspirational mentors: Branford Marsalis (as part of a Churchill Fellowship) Proudest musical achievement: Blueberry Ash What is jazz?: Sharing something creative and deep through music.

The impact of jazz: In some societies it is a lot, in others not so much. I feel in Australia its impact is starting to grow across different age groups.

If only I had known: You cannot be everything ... just be yourself.

Best practice tip: Always have the horn out and do lots of listening.

Influences: Jan Garbarek Current listening: Stranded by Marike van Dijk Nonet, September by Gustav Lundgren, Jorge Rossy, Doug Weiss and Bill McHenry Dream collaborators: Charlie Haden (when he was alive), Manfred Eicher (as a producer) Gear set up: SML Tenor (1962) with Syos Mouthpiece 10*, medium chamber and RW 3.5S Reeds, SML Soprano (1971) with vintage mouthpiece (from soprano planet, make unknown) 7* large chamber and Select Jazz 3H reeds.

Tune: “My Song” by Keith Jarrett Place: Home – sharing a meal with the family Ice Cream Flavour: Pistachio Venue: JMI in Brisbane – one of the world’s best rooms andrewbuttmusic.com

Years of playing: Not long enough. I was a ridiculously late starter who will never really catch up with those who started young, and that’s okay.

Inspirational mentors: Tony Hicks, though every teacher I have ever had has taught me many worthwhile things.

Proudest musical achievement: I wrote a short piece some years ago called “Mongolia” which I am still proud of. However, I get “surrogate” satisfaction from setting up a jazz jam where we, collectively and individually, create something different each time.

What is jazz?: A combination of learning like crazy and then forgetting that you “know” anything.

After that, what comes out is probably jazz.

If only I had known: Your self-worth is not determined by the quality of your playing. I have “known” this for some years, but still struggle to believe it from time to time.

Best practice tip: Go slow, use a metronome about half the time and don’t kid yourself.

As a busy adult, success is sometimes best defined by just getting some practice in.

Current listening: I have a macabre fascination with American politics, so there’s a lot of podcasts to keep up with there. Musically, anything by Andrea Keller is gorgeous.

Gear set up: Yanagisawa horn, Otto Link Super Tone Master mouthpiece, Vandoren Java reeds. On the soprano sax I did buy a Bari mouthpiece, without even trying it, because that’s what Branford Marsalis uses. My teacher at the time told me off roundly for doing that. Fortunately, it works well for me.

Ice Cream Flavour: A really, really, really good vanilla with a custard base and real vanilla beans.

Animal: The blue-tongue lizard in my backyard. I also had a quirky deaf cat who I loved very much and I still miss her. Most animals are great, actually.

Venue: The Old Church on the Hill – its acoustics and couches just let you melt into the experience. www.facebook.com/groups/135372160391526/

63

CAMERON

ERIC

MCINTYRE

A J AY E

CLARINET, SAXOPHONES, FLUTE, PIANO

D OUBLE BAS S AND ELECTRIC BAS S

VICTORIA

AUSTRALIAN CAPITAL TERRITORY

Years of playing: Clarinet 15 years, saxophone 10 years, flute six years and piano on-and-off for about 18 years.

Years of playing: 51 years

Inspirational mentors: Harry Skoler was my mentor during my time at the Berklee College of Music in Boston. I am truly grateful to both have learnt from him, and to call him my friend.

Proudest musical achievement: I’ve really loved the whole process behind the creation of my debut album The Art of The Stomp. This album came off the back of my honours thesis that I completed in 2021; a deep dive off Australia’s traditional jazz roots, and its connection to the rise of New Orleans music from the 1920s and 30s. My album is a collection of original works showcasing the compositional weirdness and joy of Aussie composer David Dallwitz.

What is jazz?: To me, jazz has always been about bridging a connection between people.

Jazz is connection, it is inclusion and it is joy.

If only I had known: That you have way more time to work on your music than you think. We live in a culture at the moment that idolises making it big in your 20s, and grinding non-stop until you do, and I find it quite toxic, especially within a creative setting.

Give yourself a bit of breathing room, be kind to yourself whilst you’re still developing your technique and sound, and let things take as long as they need.

Your overall musicianship will be deeper for it.

Current listening: I’m really loving Emmet Cohen’s live streams, especially with all the special guests he brings on. Every stream is different. Ricky Alexander, a soprano saxophonist and clarinettist from the U.S. He’s recently released a single called “Promenade”, which I’ve fallen in love with. So, now I’m going through the rest of his discography. Adrian Cox always makes it into my weekly playlist as well.

Ice Cream Flavour: The peach flavour from Miinot Gelato in Melbourne’s North.

Venue: The Paris Cat Jazz Club Season: Winter. I love dressing for the cold. @cameronmcintyremusic cammcintyremusic.bandcamp.com

Inspirational mentors: Buell Neidlinger Proudest musical achievement: Time Within Duo's Karen’s Smile with Pianist Mike Nelson and Straight Up Trio The Flow.

What is jazz?: Freedom in it and the freedom of expression it allows. A partner in the history of “societies”.

The impact of jazz on society: It keeps them honest and speaks truth as it sees it. It’s a fearless artform.

Best practice tip: Keep learning, be versatile, be serious about your craft.

Have fun.

Influences: Ron Carter, Eberhard Weber and Chuck Rainey Current listening: Classical music bassist Gary Karr Dream collaborator: Saxophonist Mark Ginsburg and pianist Todd Cochran Current gear set up: My acoustic double bass is a Gliga 5 string, custom-made 5 string Anderson Bass and three NS Design electric upright basses. I love them all.

Place: Spain Food: Mexican food Animal: Dogs Venue/Festival: Carnegie Hall, Newport Jazz Festival Season: Fall ericajaye.wixsite.com/bassist

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APRA AMCOS

A RT M U S I C AWA R D S The annual Art Music Awards are presented by APRA AMCOS in conjunction with the Australian Music Centre (AMC) to recognise achievement in the composition, performance, education and presentation of Australian music. Art music covers activity across contemporary classical music, contemporary jazz and improvised music, experimental music and sound art.

WO RK OF T HE YEAR: JAZZ YEAR

T I T LE

C O M POSER

PERFO RMER

2011

Ashes to Ashes

Johannes Luebbers

Johannes Luebbers Dectet

2012

Affectations

Andrea Keller

Bennetts Lane Big Band

2013

Anda Two

Marc Hannaford

The Marc Hannaford Trio

2014

Tall Tales

Paul Grabowsky

Monash Art Ensemble

2015

Music for Average Photography

Mace Francis

Mace Francis Orchestra

2016

Nyilipidgi

Paul Grabowsky and The Young Wägilak Group

Paul Grabowsky, The Young Wägilak Group, The Monash Art Ensemble

2017

Now Noise

Tom O’Halloran

Memory of Elements

2018

American Counterpoint

Matthew Sheens

Matthew Sheens, Lyndon Gray, Myele Manzanza, Zephyr String Quartet

2019

Trombone Song Cycle

Joshua Kyle and Andrew Murray

Joshua Kyle, James Greening, James Macaulay, Jordan Murray, Adrian Sherriff, Andrew Murray

2020

Adventurine

Linda May Han Oh

Linda May Han Oh, Greg Ward, Mat Mitchell, Ches Smith, Fung Chern Hwei, Sara Caswell, Benni Von Gutzeit, Jeremy Harman, Gian Slater

2021

Spaccanapoli

Vanessa Perica

Vanessa Perica Orchestra

2022

Grey Is Ground

Gian Slater

Gian Slater

2023

Busy/Quiet

Nat Bartsch

Nat Bartsch Quartet, Ellen Kirkwood, Loretta Palmeiro

65

Years of playing: Playing music since nine and saxophone at 15, so 27 years.

Inspirational mentors: John Mackey at ANU School of Music, saxophonist extraordinaire and beautiful human. He was as encouraging as could be at the right time in my development and instilled a powerful work ethic.

Proudest musical achievement: I am excited about an upcoming album from my new quartet Sleeper. We recorded last November and it should be mixed and mastered by the time this is printed – my first foray into live effects on my saxophone.

JACK BEECHE

S A XO P H O N E S , F LU T E , C L A R I N E T, E F F E C T S P E D A L S

V I CTO RI A

If only I had known: Learn to sightread.

Saxophonists, learn to double. I got told pretty early, thanks Dave Panichi, and learnt fast. A later lesson from Tony Kofi in London was on jazz articulation – tonguing the upbeats. Articulation is the start of your note and therefore the start of the time, so to work on your time, work on your tongue.

Influences: Lee Konitz. It was Lee Konitz’s approach of moment-to-moment improvisation that appealed to me, highlighting the honesty of jazz improvisation, while striving to be as creative one can be. Konitz’s approach is more about being you than being him. His book Conversations on the Improviser’s Art is a wonderful window into his approach and mindset as a musician.

Dream collaborator: Stephen Magnusson has always been a huge influence on me. There is this feeling when playing with Steve, that any note you play is going to be OK and that the music can move in any direction and still be coherent.

Gear set up: Ooooh, super fun sax geek question.

SML Rev D/Gold Medal saxophones on alto, tenor and soprano. Selmer Mark VI Bb baritone. Jody Jazz mouthpieces on everything, DVNY 8 on alto and baritone, Custom Dark 6 Sop and Hand Hammered 8* (AMAZING!) on tenor. Reeds … urgh don’t even get me started. Gonzalez Jazz on Alto and D’Addario Jazz Select unfiled on the rest.

Place: The beach Food: Burgers and beer Ice Cream Flavour: Berry Animal: My 10-year old fluff-head cat Morgan

P H OTO BY N I G H T Y O KOT P H OTO G RA P HY

jackbeeche.com | @jackssax jackbeeche.bandcamp.com

P H OTO BY N I C O L E TA N N E R

Years of playing: I think most of us have been singing as long as we can remember, but I started taking it seriously when I was about eight, then lost confidence for a long period in high school. I used to sing in front of my class in primary school, but didn’t get into one-on-one vocal lessons until towards the tail end of high school.

Inspirational mentors: Johannes Luebbers and Jamie Oehlers. Johannes taught me in a succinct and accessible way all the nitty-gritty important stuff that allowed me to access the sounds that I wanted and gave me the tools to write it down/communicate it in a way that could be understood by musicians. And he somehow made it inspiring, too. Jamie Oehlers put me in one of his regular groups and forced me to stretch (often reluctantly) into areas that I found very scary at the time. The first time I played with Jamie, I could have sworn he could see me shaking as I tried desperately to keep up.

I now couldn’t imagine my music without him. I learn every time we play together.

Proudest musical achievement: I’m most proud of a new piece entitled “Weather and Weeds”. It ties in a lot of things that I was too scared to convey for a long time, and shows a lot more of the written poetry side of things than my previous pieces. It will be the title track of a new album, recorded with Jamie Oehlers and Tal Cohen in March.

The impact of jazz: I think jazz, like any art form, is part of the discourse.

It can criticise and comment on society as we see it, either through one composer/performer’s personal lens, or through music that conveys views on what is happening (or has happened) in the world around us. It also helps audiences feel an emotional connection to all of this, which is valuable as part of the conversation or just as an escape from everyday pressure.

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HOLLI SCOTT VOICE

WESTERN AUSTRALIA

If only I had known: I wish I’d known I could be honest on stage, both in chats with the audience and in my own stage presence while performing. I’m a very quiet, introspective person and early on I felt a mounting pressure to be more extroverted on stage. It took me too long to come to terms with the fact that the people I most admired at the time (Billie Holiday, Kristin Berardi, Gian Slater) were just themselves on stage. They just did their thing and it’s more real/beautiful because of that.

duo setting – I’ve been listening to his playing for years and think both it and his writing are beautiful, especially the way he frames and respects the lyric when working with a vocalist.

Best practice tip: Do your homework so when you’re on the bandstand and you’re exposed (i.e., no pitch reference sitting in front of you), you know all your bell notes, you know where to find reference points if there’s a modulation, you know which scale degrees each section starts on, etc.

Animal: My dog, Norman.

Venue: The Quarry Amphitheatre Season: Spring

Dream collaborator: I’d love to work with Vanessa Perica – she’s an absolute force and I’ve loved her music since hearing her pieces on Carl Mackey’s recording years ago. I’d also love to work with Paul Grabowsky in a

Gear set up: The Shure Super 55 mic is my go to. In UMBRA trio, I also use a TC Helicon Perform V and a Boss RC 500 loop pedal.

Place: The arboretum in Nannup, where I grew up. I know it’s a cliche, but the air is different there.

www.facebook.com/holliscottmusic holliscott.bandcamp.com @holli_scott_music

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Years of playing: 33 Years Inspirational mentors: I had two teachers, one taught me the language of music, Mr Des Reid, he taught me the structure behind jazz and music, and Peter Walters taught me the love of jazz.

Proudest musical achievement: I am most proud of my latest release In The Blood. I feel it brought all the elements of music together that I love: rhythm, melody and vocals.

What is jazz?: Jazz is a language that no one ever really masters; it has infinite possibilities and underlying principles that cannot be explored to their fullest extent in one lifetime. I hope to master it fully in the next life.

The impact of jazz: I think that jazz is an essential part of any education, be it as an instrumentalist/vocalist or on a level of appreciation. Jazz makes people think about music whether they like it or not. It makes them think about music and sound on a different level.

ELECTRIC AND DOUBLE BASS

V I CTO RI A

DAVID GALEA

Best practice tip: The best tip I received is to play standards on the bass and learn to sing the melody while playing the bass-line. Bass players rarely play the melody of a tune however understanding how it interacts with the chord progression informs their improvisational element and more importantly it influences the bassline.

Influences: I think drummers are my biggest influence, drummers like Brian Blade, Bill Stewart, Antonio Sanchez. I was also heavily influenced at a younger age by Jaco Pastorius, Marcus Miller, James Jamerson, Ray Brown, Paul Chambers and Christian McBride.

Current listening: I am obsessed with Latin/flamenco bass players, have been listening a lot to Munir Hossn.

Dream collaborator: I would love to compose a body of work with the Brisbane group Topology.

Gear set up: I play a 1965 Framus double bass and a Warwick thumb bass custom shop with flat wound strings though Mark bass valve amp, killer.

Tune: Wolfgang Muthspiel’s “Father Son” Food: Greek Animal: Wedge-tailed eagle Venue: The Brisbane Jazz Club davidgaleamusic.com

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KRISTIN BERARDI

VOICE, PIANO, VIOLIN QUEENSLAND / SWITZERLAND Years of playing: I have been concentrating on voice since I was 18. Violin was my first instrument, starting when I was five.

Inspirational mentors: Irene Bartlett for my technical work on the voice and Ingrid Jensen for jazz/improvisation/music.

Proudest musical achievement: I am very proud of my album with Sam Anning – Our Songs Not Songs. And my latest band album The Light and the Dark. The other album which I am really proud of is Florian Ross’s album Swallows and Swans.

What is jazz?: Freedom The impact of jazz: Jazz should be an example of a respectful society I believe – everyone is welcome, regardless of background and differences, there is no hierarchy, just people serving the music.

Best practice tip: Stay child-like in your wonder about music. Include time to do the basics, and the fundamentals, and also to just enjoy.

My practice time greatly improved when I started thinking of it as an adventure – rather than having so much tension or pressure on myself to produce songs/results/technique/outcomes.

Current listening: At the moment I’m listening to Ambrose Akinmusire’s Owl Song.

Dream collaborator: Union Station, The Punch Brothers Gear set up: I only have my keyboard set up at all times, because when kids and their friends are over, there’s no way I’m leaving a mic set up.

Place: NYC and Montreux Food: Coffee :-) Ice Cream Flavour: Tiramisu Animal: Fox kristinberardi.com

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Years of playing: I’ve been playing the alto for nearly 30 years now.

Proudest musical achievement: I’m most proud of my most recent recording with ABC Jazz – Suite for Max. It’s an all-original suite inspired by my son Max. This recording is the best representation of my sound/approach. And of course, it’s very close to my heart as I wrote it for my son.

Best practice tip: My best practice tip would be to put away your phone and computer when you can. Work on your focus and know what you are practicing and why.

Influences: My biggest influence is also my most influential teacher – Lee Konitz. He told me to put down my horn and practice my singing. If you can’t hear it/ sing it then it won’t be genuine when it comes out of your horn. Another huge influence is Australian jazz legend Tony Gould – I’m lucky enough to be able to play with Tony on a regular basis, and similar to Lee, he values honesty and melodicism – no bullshit allowed.

Current listening: I’m listening to The Definitive Jazz Thad Jones by the Mel Lewis Jazz Orchestra. Check out Dick Oatts’s solo on “Little Pixie” – brilliant.

Gear set up: I play on an old NY Meyer mouthpiece with D’Addario Select Jazz Reeds and an Ishimori Ligature. My alto is a Mark VI that I purchased from Roberto Winds in New York. I’ve also got two Ishimori solid silver neck screws on my alto – I swear they make a huge difference to my sound.

Ice Cream Flavour: Boysenberry Season: Spring – my mood instantly lifts when I can smell sweet peas, wattle and jasmine. angeladavismusic.com

ANGELA DAVIS

A LT O S A X O P H O N E , C L A R I N E T, F L U T E V I CTO RI A P H OTO BY M I C H E L L E G RAC E H U N D E R

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Years of playing: 24 years Inspirational mentors: Mrs Dawn Beaumont-Stevens was my childhood piano teacher. She has had a profound impact on my life – she taught me to treat music learning as a lifelong process to try and to listen with as wide ears as possible. I am also indebted to my guitar teachers – in particular, Andreas Wahl, Carl Dewhurst and Steve Brien.

Proudest musical achievement: I’m probably most proud of my debut album Parkside. I have a lot of love for the musicians on the record – they play so beautifully and really imbued the compositions with life. All the songs on the record are about various places, people and communities who have shaped me over the course of my life, so it’s a bit of an extended love letter of sorts.

HILARY GEDDES G U I TA R N E W S O U T H WA L E S

What is jazz?: Jazz is joyful, it’s exploratory, it’s connection and generosity. It’s a music and culture with a rich and deep history, present and future, and it is an honour to play this music.

Current listening: Noname’s latest album, Sundial has been on high rotation. I’ve also been rinsing Hinano Fujisaki’s Home Is EP. Dream collaborator: Ry Cooder, Mary Halvorson, Julius Schwing ... the list goes on.

Gear set up: I use a Fender Blues Junior and am generally playing a second-hand Telecaster with Seymour Duncan pickups.

If using pedals, the Earthquaker Devices Avalanche Run reverb/delay with an expression pedal is a bit of a stalwart on my pedal board. Overdrive and distortion pedals are on a bit of a rotation – at the moment, I’m using a RAT and a Gliss Drive

by Sydney pedal maker Earthling Designs.

Tune: “Lonely Woman” – Ornette Coleman Food: Gnocchi bolognese Animal: Koala Venue: Phoenix Central Park hilarygeddes.com @hilary.geddes P H OTO BY A P RI L F E RG U S O N

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Years of playing: I have been playing upright bass since I was 10.

Inspirational mentors: My most inspirational and memorable teacher has been Scott Tinkler, whilst a part of the jazz ensemble at the Conservatorium of Music in Hobart.

What is jazz?: Jazz is the thing that inspires me to keep striving to be better and better. Jazz has created many lifelong friendships within various ensembles that I have been a part of. I infuse it into all areas of music that I play, and wherever possible into aspects of my everyday life.

SEB FOLVIG

ELECTRIC AND DOUBLE BASS

TA S M A N I A

Best practice tip: Chunk. One of the primary takeaways I got from the head of music at my high school was to chunk. This involves taking parts of a piece of music and chunking them into smaller more achievable phrases. Over time this can be extended from one bar to four or eight, and even eventually to one time through the form.

Current listening: Directions in Music: Live at Massey Hall with Michael Brecker, Herbie Hancock, and Roy Hargrove, Avishai Cohen’s Gently Disturbed, Joe Henderson’s Big Band, and Christian McBride Trio’s Live at the Village Vanguard.

Dream collaborator: I would most like to collaborate with my long-time friend and saxophone player Tristan Meffre.

During our foundational years, we built a deep bond both as friends and musicians.

Since that time we have not been able to play together as Tristan moved states.

Gear set up: Gliga III Deluxe upright bass with Spirocore strings, Fender Mustang, Bacchus 5-string, with pedal board including Digitech bass synth wah, Whammy octave pedal, Ampeg Scrambler distortion pedal, Boss RV-5 and a Little Mark IV 1x12 combo.

Tunes: “Song Song” by Ben Wendel or “Pinzin Kinzin” by Avishai Cohen.

Festival: Mona / Melbourne International Jazz Fest www.facebook.com/people/SebFolvig/100009702731044/ @FregglesFolvig

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julieohara.com @julieoharamusic julieohara.bandcamp.com

JULIE

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O’HARA VOICE, PIANO, NOSE TRUMPET V I CTO RI A

Years of playing: I’ve been singing since early childhood and started piano in my early 20s.

I started gigging when I was about 15.

Inspirational mentors: I studied drums in high school and had Peter Whitford as my teacher. He was so enthusiastic about music and his experiences of playing jazz. His stories about gigs and touring were amazing. The other, later on, was trumpeter/ arranger, Gilbert Alexander Askey. He taught me how to appreciate your audience and how to connect, how to care for them. He reinforced how important the groove was and would start to pack up his trumpet if the rhythm section weren’t bringing it. He made every moment count and his love for jazz was infectious and his stories that he shared made us feel a little closer to the US where so many of our musical heroes were playing. It was a very special friendship and I loved him very much.

He has sadly passed but lives “on and on and on” in our hearts. Pianist, Steve Sedergreen, although he only gave me a few piano lessons, he got me on the right track and his guidance and support over the years has been invaluable, especially recently, working together on my new album.

Proudest musical achievement: I’m about to release a new album of original songs called, All in the One Room. I’m proud of this album because I can hear how I’ve grown since my last recording, in that I’m leading my ensemble more strongly as a vocalist and have developed in my role as a band leader, songwriter and arranger.

What is jazz?: To me, jazz is a sense of family, of belonging to a community. Jazz is a world of emotions, from deep connection to crazy humour.

Jazz challenges me to understand more, to be myself, to connect and appreciate the talent and spirit of those around me. It’s been my constant since I fell in love with the sound as a young girl and has kept me company throughout my life.

If only I had known: To trust the quality of your work even when your knowledge is limited.

Listening back years later [to earlier compositions], I have found that there was gold in those hills. My choices were limited and simpler back then, but the stories were expressive and the focus was on the lyrics and the groove or feel. My writing can be more complex now but I do find myself going back to simpler progressions from the past.

Dream collaborator: I’d have to say Vince Jones.

I’ve blended tones with him since my childhood but never in person, so that would be nice. I also love Lucky Daye and Jon Batiste, their songwriting is incredible and I love the blending of jazz, R&B and neo soul. I would also love another opportunity to make music with guitarist Stephen Magnusson. Steve is the master of finding beauty in sound and texture and as we’ve grown so much and remain such great friends, who knows.

Place: Williamstown Beach at sunset after a really hot day or reading a book in the botanical gardens.

Animal: Otter Season: Autumn

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FREEDMAN F E L LOWS H I P

Administered by The Music Trust, the Freedman Music Fellowships are among the most prestigious offered to Australian musicians. They are awarded annually to a classical music instrumentalist and a jazz musician.

F RE EDM AN F ELLOWS HIP: JAZZ ARTIST YEAR

NAME

IN ST RU M EN T

2001

Andrea Keller

Piano

2002

Phil Slater

Trumpet

2003

Andrew Robson

Saxophone

2004

James Muller

Guitar

2005

Matt McMahon

Piano

2006

Julien Wilson

Saxophone

2007

Kristin Berardi

Vocals

2010

Ben Hauptmann

Guitar

2011

Matt Keegan

Saxophone

2012

Christopher Hale

Bass Guitar

2013

Marc Hannaford

Piano

2014

Aaron Choulai

Piano

2015

Tal Cohen

Piano

2016

James McLean

Drums

2017

Emma Stephenson

Piano

2018

Nick Garbett

Trumpet

2019

Novak Manojlovic

Piano

2020

Helen Svoboda

Bass

2021

Hilary Geddes

Guitar

2022

Tom Avgenicos

Trumpet

2023

Phillippa Murphy-Haste

Clarinet

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Years of playing: 37 years Proudest musical achievement: Releasing David Ades’s final recording, A Life in a Day, on my own Lionsharecords label, is the album I’m most proud of. It was the last thing he wanted to give to the world when he was diagnosed with cancer and helping to share that music with everyone was the greatest honour a friend could have.

What is jazz?: Spirit. Vitality. Exuberance. Honesty.

Integrity. Truth. Passion. Transcendence.

The impact of jazz: The spirit of jazz for me is a true representation of all the lofty ideals of democracy. To truly cooperate for the greater good, one must contribute and listen in equal measure. Everyone leads and everyone follows.

Every action and inaction is important.

JULIEN

WILSON

S A XO P H O N E V I CTO RI A

Influences: Some of my biggest heroes have been people like Malcolm X and Nelson Mandela. When I was a kid my hero was Carl Lewis because he seemed to be able to do everything. Cathy Freeman was a huge inspiration. As was Eddie Mabo and Vincent Lingiari. In college I was deeply inspired

by Anton Delecca, Brian Brown, Paul Williamson and Mark Simmonds. Playing with Stephen Magnusson over three decades has profoundly influenced me. I still think of Garzone and Bergonzi nearly every day and it’s been over twenty years since I moved to Boston to study with them.

Dream collaborators: Bill Frisell, Omar Sosa, Oumou Sangare, Danilo Perez, David Torn, Harriett Tubman, Wadada Leo Smith, Miles Okazaki and Dan Weiss.

Gear set up: 1936 Selmer Balanced Action tenor sax, Yamaha 62R soprano sax, 1941 Conn Connqueror tenor, Yamaha SEVR clarinet, 1964 Selmer bass clarinet. Ed Pillinger clarinet mouthpieces.

My main tenor mouthpiece is a Mark Spencer prototype based on an old double ring Otto Link, My backups are another metal Spencer piece and a Theo Wanne Ambika 3 (all about 9). My soprano mouthpiece is a Theo Wanne Ambika (9). I play D’Addario reeds: Select Jazz 4S on tenor, Reserve Classic 3 on clarinet, bass clarinet and soprano.

Place: Serenity. Followed closely by utter chaos.

Food: Soul food Animal: The drummer from the Muppets Season: Silly season julienwilson.com

P H OTO BY W. I . L . K .

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Proudest musical achievement: I’m extremely proud of the EP I released last year, Matilda Bay. It’s a six-track collection of duo collaborations in varying genres. I loved the process of collaborating with everyone involved right down to the artwork.

What is jazz?: Curiosity, meaning-making and exploration.

If only I had known: That your definition of music-making can be yours and yours alone, and that you don’t need to prove your worth to anyone in order to have a fulfilling creative practice.

Best practice tip: Apply a time constraint, turn your phone onto airplane mode, have a clear idea of your goals and break these down into manageable chunks to create a practice process or system.

Influences: I think my biggest influence is my peer group; the people who make music around me, in my community and in my immediate orbit.

Current listening: I’ve been deep diving Blake Mills after getting hooked on an Amazon Prime show that he produced the music for. So I’m down a rabbit hole involving his collabs with Pino Palladino.

Gear set up: I just have one Gretsch Catalina Club kit and then a gross old Yamaha Stage Custom which is my practice kit and never leaves the house. I also bought a bunch of nice microphones last year with the intention to start some home recording but thus far that has not eventuated.

Tune: “Where Or When” or “Stardust” Place: Leighton Beach in Perth, very close to where I live.

Animal: Wombats – I love them so much that I cried when I met one. hollynorman.com.au

HOLLY

NORMAN

DRUMS, PERCUSSION, VOICE, C OMPOSITION WESTERN AUSTRALIA

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Years of playing: About 48 years …

Inspirational mentors: Dr Graham Williams, a classical piano teacher who has been a “guru” to most Adelaide jazz pianists since the late 1980s.

What is jazz?: Jazz is a rhythmic approach, a style of music and an attitude. Jazz is the backbone of everything I do musically. In the last 15 years as a player and composer/arranger I have probably spent more time with music other than jazz, but jazz has always informed my approach in every musical genre: the freedoms, the timbral spectrum, the rhythmic concepts, the harmonic choices, the attitude.

The impact of jazz: Playing jazz can have a profound impact on the musicians playing it – the connection required between the players; the trust, the listening, the empathy, the energy and the joy. While there have been many “challenging” musicians throughout the history of jazz, almost every jazz player I have met has been a really genuine human too – bringing those qualities that are essential on the bandstand to their general lives.

Influences: Pat Metheny

MARK SIMEON FERGUSON

PIANO, BACKING VOCALS, ELECTRIC BASS SOUTH AUSTRALIA

P H OTO BY RA N DY L A RC O M B E

Current listening: I am currently writing my first commission for the Australian String Quartet, so I am listening to string quartets by Britten, Bartok, Stanhope, Caroline Shaw et al, most of the time.

But when I am listening to jazz, it is Jason Moran’s great tribute album to James Reese Europe, From the Dancehall to the Battlefield. I lectured in jazz history for 15 years and I always found Europe interesting – that “cusp of jazz” vibe.

Dream collaborator: John Patitucci – when I heard him speak at a workshop he held in Melbourne I was deeply inspired. He has such a wonderful concept of music based on connecting and listening to his band mates. And of course he has that deep groove and a wonderful lyricism in his lines.

Tune: “Body and Soul” (Green, Heyman, Sour and Eyton) and Radiohead’s “Exit Music (for a Film)” Place: The Flinders Ranges on Adnyamathanha country.

Food: Steamed broccoli Animal: Bettongs are pretty cute. marksimeonferguson.com @marksimeonferguson marksimeonfergusonmusic.bandcamp.com

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Years of playing: Approximately 45 years Inspirational mentors: Roger Frampton, Guru Karaikudi Mani Proudest musical achievements: Testimony and Bridge of Dreams What is jazz?: The spirit that keeps me alive and vibrant.

Best practice tip: Be consistent, concentrate, have fun, seek inspiration, listen to others, look after your health – mental, physical and spiritual.

Influences: No single person – I have very diverse influences and interests.

Current listening: Delve

by Underwards Place: North Curl Curl Headland, Sydney Season: Spring sandyevans.com.au

SANDY EVANS S A XO P H O N E S

N E W S O U T H WA L E S

P H OTO BY S H A N E ROZ A RI O

P H OTO BY Á E DÁ N O ' D O N N E L L

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Years of playing: Since I was five years old.

Tune: I can’t get away from the “Aria” from Bach’s Goldberg Variations.

Place: Customs Coffee (NZ). They do great savoury/sweet toast combinations – peanut butter with tomato and pickles, that kind of thing.

Ice Cream Flavour: Pistachio felixbornholdt.com | @felixbornholdt | felixbornholdt.bandcamp.com

REVI EW MAN OVERBOARD Felix Bornholdt Independent

On his solo debut, Felix Bornholdt lures listeners into his web as he blends superb technique into the expanse of his creativity. Something is dazzling about his touch. Space and time rework into a melodic dance, atonality sings beside formal structure, and harmony strikes a rich chord. Bornholdt never ceases to be inventive with his 11 original compositions. With sumptuous cover artwork by John Pile and a bonus insert artwork by Brendan O’Brien in the vinyl issue, this package is occasionally mysterious, always shimmering and artistically complete. Standout tracks abound – “Palais Waipapa” and “What Was It That Woke You” are glorious gems. There is a lot to behold throughout this poetically articulated and courageously well-executed impressive musical offering.

Barry O’Sullivan

PIANO

Dream collaborator: The guitarist Blake Mills is making some really incredible music right now.

N E W S O U T H WA L E S

Influences: Hearing Keith Jarrett’s Köln Concert for the first time was a huge moment for me. That record more than anything made me want to become a pianist.

FELIX

Best practice tip: If you’re planning on performing live, it’s incredibly important to have a part of your practice that emulates the performance experience. Great live music happens on a very high level of intensity and expecting yourself to just magically arrive there on the gig if you don’t practise playing at that level is a big ask.

BORNHOLDT

Proudest musical achievement: In 2023, I released my debut solo piano record, Man Overboard. In part, it is a collection of works that are thinking about living and making music in the South Pacific. I’m proud of the music and also the amount of art from the South Pacific that was involved in the album; the Niuean painter John Pule contributed the cover artwork, my dad painted the centre labels and my uncle contributed a number of collage works.

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Years of playing: 59 years Inspirational mentors: Two: Chuck Yates and Roger Frampton helped enormously to get me started in jazz improvisation.

Proudest musical achievement: There have been many different musical outputs that I have been and am extremely proud of at different times: the work with Sandy Evans and Tony Gorman in Clarion Fracture Zone; and also Wanderlust; some works and performances with the Australian Art Orchestra; my trio performances and recordings with Lloyd Swanton and Toby Hall; and more recent projects with Satoko Fujii, Raymond MacDonald, Sia Ahmad, Tony Buck, Ed Kuepper, Joe Williamson and Christopher Cantillo.

What is jazz?: Jazz is a way to explore improvisation that provides links to a number of harmonic, rhythmic, and melodic developments in music. It’s helped also to provide a technical framework to branch out from.

The impact of jazz: Jazz is a reminder of the importance of collaboration, respect, cultural exchange and musical hybridity.

If only I had known: I might not be quite answering the question but perseverance, a settled “centre” (as a human being) and a relaxed sense of self-worth are some traits I admire in others.

Best practice tip: Listen for what you think is good in your playing.

Try to ignore the days when nothing seems to be working as there will be many more when you feel rewarded and inspired by your efforts.

Influences: Musician-wise this is very difficult to answer as each phase of playing and stage of life has made me aware of many different and inspiring performers and human beings. I think my closest friends in life and music are my biggest influence.

Current listening: I tend not to listen to albums repetitively at the moment (except for ongoing work projects) but some things I have been listening to are: async by Ryuichi Sakamoto, Conversations with Tony Oxley by Cecil Taylor and Tony Oxley, A History of Everyone by Bill Orcutt, The Omnichord Real Book by Meshell Ndegeocello Dream collaborator: The people I am collaborating with currently.

There are some plans for the future: we’ll see what happens.

Gear set up: Grand piano (for piano projects) is the most common setup, though I sometimes play Fender Rhodes through an amp with preparations and effects pedals, or Kawaii CX3 organ plus amp.

Ice Cream Flavour: Pistachio Season: Autumn www.alisterspence.com https://www.facebook.com/alister.spence.seven @alisterspence alisterspence.bandcamp.com

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ALISTER SPENCE

PIANO

N E W S O U T H WA L E S

REVI EW ASTERO ID E KOSYSTEM LIVE Asteroid Ekosystem Alister Spence Music

Aptly named Asteroid Ekosystem, this stellar line-up – Alister Spence, Ed Kuepper, Lloyd Swanton, Toby Hall – conjures celestial mayhem.

Gods playing with the space-time continuum, they chuck notes at each other, effortlessly pick up themes and phrases, and run with them.

From “Not a Leaf in Any Forest” to “Outer Orbit”, Kuepper’s unmistakeable guitar riffs generate waves of sound that devolve into fissures of dissonance. Seamlessly taken up by percussive volleys from Spence, Swanton and Hall, each track spins off, energy unbound. Buckle up! You’re in for a frenetic ride. In a minute, this mighty ship will go careening off planet, headed for Saturn and a meeting with their spiritual progenitor.

Jurate Sasnaitis

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Years of playing: I began at the age of six or seven on the piano and have given that away and returned many times over.

The flute I’ve been playing for 37 years and the saxophone for 20 odd years. I’ve been playing the piano accordion for two or three months now but I’m loving it.

Inspirational mentors: Joannes Roose – he isn’t an improviser but taught me so much about sound and ultimately aided the unleashing of a plethora of techniques that I’ve worked and now incorporated. I don’t recall him playing much but it was the magic in how he spoke about sound, his analogies and metaphors and the general poetics of his inspiration – diamonds and whales.

Proudest musical achievement: Lo-Res’s La Sortie as part of my doctorate.

If only I had known: There are “good” and “bad” lady beetles … my potato and eggplant plants have been decimated by the 28-spotted lady beetle … where are the bird predators?

Influences: Well, it’s the musicians around me that are the most inspirational. Whether I play alongside them or hear them live – it’s the immediacy of the contact that engages and inspires. But I cannot not mention Eric Dolphy: I transcribed Dolphy’s “Stolen Moments” solo hoping to find something incredible to work with and realised that it was the energy he brought to his music that made his playing engaging. Listening to Dolphy taught me that it’s not what you play but how you play it that matters.

Dream collaborator: Mary Doumany – a collaboration with a dear friend would mean the world to me.

Food: Brussel sprouts or watermelon Venue: 303, Northcote Season: That’s too hard a question. I’ve moved to Bangarang country (Whoo language group) and now understand there are more than four seasons. belindawoods.com.au www.facebook.com/belinda.woods.900 P H OTO BY L A K I S I D E RI S T I M P L E D G E R

BELINDA WOODS

F LU T E S , S A XO P H O N E S , PIANO AC C ORDION, ELECTRIC BASS V I CTO RI A

85

Years of playing: 20 years Inspirational mentors: Ben Vanderwal, John Riley Proudest musical achievement: Every time I touch my instrument, I try to create something I would be proud of.

What is jazz?: It is an expression of the human condition through music, utilising Black American folk music traditions.

If only I had known: Always sound like yourself; people won’t hire a copycat.

ANGUS MASON DRUMS SOUTH AUSTRALIA

Best practice tip: Do your own thing and do it every day. Every day, if you can.

Influences: Keith Jarrett, Ornette Coleman, Mary Lou Williams, John Coltrane, Miles Davis, Max Roach, Roy Haynes, Paul Motian – this list could go on forever.

Current listening: Kevin Sun – The Depths in Slow Motion, Mary Lou Williams – Free Spirits, Fred Hersch – Alive at the Vanguard, Aiden O’Rourke and Kit Downes – 365: Vol. one, Jim Black Trio – Somatic, The Wailers – Burnin’, Keith Jarrett – El Jucio Dream collaborator: Anyone that makes music that surprises me.

Gear set up: Some Craig Lauritsen cymbals, some Pug cymbals, some old Zildjians and Canopus Drums (or whatever drums are at the gig).

Tune: “Stardust” Place: New York City and The Wheatsheaf Hotel (Adelaide) @angusmasonplaysthedrums P H OTO BY DA N I E L G AYN O R

86 P H OTO BY L I L I A M AS O N

Years of playing: I’ve been playing saxophone for 41 years.

Inspirational mentors: I studied with Paul McNamara during my master’s degree. He never told me how, or what, to play. But he always asked me the questions I needed to consider – at just the right time. He taught me to listen to my unique musical voice, and to accept and trust it.

What is jazz?: Jazz is my way of being in the world.

Influences: My parents were my biggest influence. They always told me, “You only get one shot at life, so make sure you do what you love.”

SPIKE

MASON S A XO P H O N E S TA S M A N I A

Current listening: These days I’m researching a PhD, so I’m almost exclusively listening to my own oximetric music. The journey to discover why you play what you play is difficult, revealing and rewarding. My most recent recording of this new multipulsed music is called Now’s Not The Right Time.

Tune: The one that I’ve never played before, when I’m in the zone and it just comes straight out of my horn from deep inside.

I love that tune more than anything.

Place: Wherever I am creating and offering new music, in the moment, with lovely openhearted musicians. www.spikemason.com spikemason.bandcamp.com/album/ nows-not-the-right-time

V I CTO RI A

Best practice tip: Love your own playing, at whatever level you are at, above everything else. That way, as you improve with time and experience, you will always feel great joy whenever you play.

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Influences: The biggest influence on my music is my own autistic/ADHD identity. I believe it’s the reason my music is very emotive (empathetic), why it uses meditative repetition (sensory needs), why I’ve persisted in my career in the face of many barriers (special interest), and why I’ve created a unique pianistic style and avoided trying to “fit in” to a particular genre (social challenges).

Back during undergrad at VCA, things were a real struggle, but the silver lining was I developed my own original voice as an artist right from the start.

And I’m eight albums, a few awards and a master’s degree in ... so ... I guess I really have to thank the universe for making me neurodivergent, right?

Current listening: Music for Psychedelic Therapy by Jon Hopkins (in Dolby Atmos), and Promises by Floating Points/Pharaoh Sanders/London Symphony Orchestra.

Gear set up: A piano, Korg Minilogue, Schertler P-48 contact mic, Focusrite Scarlett interface, MacBook M1 with Ableton Live, a Midi Fighter Twister controller and a Mood Mk II ambient effects pedal.

Place: Under a tree canopy, with dappled sunlight creeping through the leaves. Preferably during a bush walk or whilst lying in a hammock Season: Spring – the most hopeful of seasons. natbartsch.com

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@natbartsch

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amicarecords.com P H OTO BY S UZ I E B L A K E

NAT

S A XO P H O N E S , F LU T E , C L A R I N E T, E F F E C T S P E D A L S

What is jazz?: I see jazz as the embodiment of freedom in music. It’s a harmonic and rhythmic framework that teaches you to improvise freely and collaborate with others. Not just in the jazz scene itself, but across many genres, instrumentations and communities.

BARTSCH

Proudest musical achievement: I think I’m most proud of my neoclassical album Hope, a suite of pieces created during 2020 in a period of enormous personal upheaval and stress. I’m equally proud of its reinterpretation Hope Renewed, which helped me really step into a space between genres with more confidence (and led to the creation of my own record label, Amica Records).

PIANO, ELECTRONICS

Inspirational mentors: Andrea Keller, Tony Gould, Stuart Greenbaum, Nik Bärtsch, Tord Gustavsen – all of them showed me how important it is to find your own inimitable voice as an artist; to stay true to yourself.

V I CTO RI A

Years of playing: 35 years

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The Australian Jazz Bell Awards recognise and encourage excellence in the performance, recording and presentation of jazz in Australia. The Australian Jazz Awards are informally known as “the Bells” in honour of one of the greats of Australian jazz, Mr Graeme Bell MBE AO. The award categories have changed through the years, gaps in an award category indicate no award was made that year.

IN D IVI DUA L A RTI ST AWA RDS YEA R

AUST RAL IA N JAZZ ART I ST O F T H E YEA R

YOUN G AUSTRA LIA N JAZZ A RTI ST O F TH E YEA R

GRA EM E BELL HA LL OF FA M E I N DUCT EE

2003

Sandy Evans

Aron Ottignon

Ade Monsbourgh

2004

Phil Slater

Felix Bloxsom

Allan Browne

2006

Paul Grabowsky

Aaron Choulai

Aaron Choulai

2007

Jamie Oehlers

Shannon Barnett

Don Burrows

2008

Julien Wilson

Sam Anning

Bernie McGann

2009

Jeremy Rose

Mike Nock

2010

Linda Oh

Bob Barnard

2011

Johannes Luebbers

Tony Gould

2012

Alex Boneham

Brian Brown

2013

Steve Barry

James Morrison

2014

Monash Art Ensemble – Joseph O’Connor

Judy Bailey

2015

James Mustafa Orchestra

Graeme Lyall

2016

Olivia Chindamo

Joe Chindamo

2017

Harry Mitchell

Ted Vining

2018

Jack Earle Trio

Bob Sedergreen

2019

Niran Dasika

Sandy Evans Bryce Rohde Horst Liepolt Allan Zavod

2021

Stephen Byth

Paul Grabowsky Mark Simmonds Nick Polites Bruce Clarke

JESSICA

J A Z Z B E L L AWA R D S

CARLTON

AU ST R A L I A N

89 P H OTO BY TO M G RE B L E

Years of playing: I started trumpet (after piano and violin) in early high school.

Inspirational mentors: Jamie Oehlers has been my most influential mentor.

What is jazz?: Jazz, and music in general, to me, has been a life force. It has been my voice when I’ve been unable to speak. It has been my peace and joy when life gets really hard. It has been my sense of self when I’ve felt lost.

The impact of jazz: Something I have witnessed as a societal impact, is the power of community and camaraderie that jazz musicians have with each other.

If only I had known: That it is not a race or a competition; and to trust my individual journey, both personally and musically.

Current listening: Paul Motian, Dave Douglas, Andrea Keller, Tamara Murphy (Spirograph Studies), Jakob Bro and currently hooked on If There Are Mountains by Dave Douglas and Elan Mehler, with Dominique Eade on vocals.

Dream collaborator: I would love to collaborate with Andrea Keller.

Gear set up: Temby trumpet with a JK 3C mouthpiece.

Tune: “Silence is the Question” from bassist Reid Anderson’s The Vastness of Space Place: In the comforts of my own home with my husband and daughter. jessicacarltonmusic.com | @jesscarltonmusic jessicacarlton.bandcamp.com

REVI EW FO R O LIVIA Jessica Carlton Quintet Independent

TRUMPET

WESTERN AUSTRALIA

Perth-based trumpeter Jessica Carlton’s latest EP comprises four original compositions dedicated to her daughter. The first three share a nascent, unmoored quality; the pulse is gentle or absent, the form understated.

Carlton floats above her ensemble, who adhere loosely but faithfully to her flowing, lyrical phrases. “Egeny” is the most arresting of these three pieces, a gradual accumulation and peaceful surrender of momentum conveying the inspiriting power of a child’s love. The fourth composition, “Birth of a Mother”, is the most developed and rhythmically grounded; after gestating in isolation and uncertainty, a new parent is born.

Ben Bartholomew

The Greatest HARD RUBBER Mouthpieces You’ll Ever Play

DV HR Alto & Tenor Patented DV Design + The Warmth & Feel of Hard Rubber

P H OTO BY ST EV E E M M E RS O N

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Years of playing: 33 years Inspirational mentors: Frank Gibson Jr. and Clarence Penn – both are incredibly inspiring practitioners who have a passion for sharing knowledge in the interest of true student growth.

Proudest musical achievement: I’m proud of all collaborative projects in which I’ve taken part … and I’m super excited about Peruana Canta, my upcoming album featuring jazz choir and AfroPeruvian Jazz ensemble.

What is jazz?: A place of creation, imagination, sharing, diversity, freedom, conversation, collaboration, expression, celebration, energy and flow – among other things.

The impact of jazz: Jazz represents an opportunity for people of diverse backgrounds to exist on a completely level playing field without judgement. It is my hope that the spirit of embracing diversity and creativity inherent in jazz continues to flourish and move the needle of societal impact. As time passes, I think that jazz has the potential to be reframed to the broader population as a vital social component.

DANIEL

SUSNJAR

WESTERN AUSTRALIA

D R U M S E T, P E R C U S S I O N , C O M P O S I T I O N

If only I had known: Growth mindset is everything Best practice tip: Always aim at achieving realistic and attainable goals, and work on applying what you practise to a variety of situations. This brings about ownership and personalisation, eventually leading to mastery and cultivation of uniqueness.

Dream collaborator: Peter Gabriel, Jean Michel Jarre, Susana Baca and Salif Keita.

Gear set up: I endorse Pearl drums, Zildjian cymbals, Remo drumheads and Vic Firth “DSUS” custom drumsticks. Although specific models depend on the musical situation at hand, I do maintain a consistent approach regarding my sound blending with the overall ensemble texture … whilst still maintaining tonal clarity/purity and definition.

Ice Cream Flavour: Hazelnut Animal: Otter danielsusnjar.com | @dsusmusic danielsusnjar.bandcamp.com

92 P H OTO BY CA L YO U N G

www.facebook.com/nadiraandfriends @nadiraandfriends_ jazz nadiraandfriends.bandcamp.com

NADIRA VOICE

TA S M A N I A

93

Years of playing: I have been singing for as long as I can remember, since I was tiny tot. I used to “force” my parents, siblings, relos, visitors, neighbours to watch me perform comedy mostly by imitating people. I have always been a bit of a show pony. I basically demanded them to pay me at the end of each performance. Growing up in Jakarta, lots of the households there used to have home karaoke. I was always so chuffed when my parents or anyone asked me to sing karaoke at home or at family gatherings. During junior and senior high school years, I also dabbled in rock and death metals bands. In Australia, I’ve been gigging for only about 10 years now. It was a bit challenging at the start, the jazz musos in my near vicinity were pretty cold and unwelcoming. I’m glad I persisted.

Proudest musical achievement: My album Dare to Dream, A Tribute to Nancy Wilson/Cannonball Adderley, recorded with James Sherlock and Nick Haywood and engineered

by Niko Schäuble at Pughouse Studios in Melbourne.

What is jazz?: I don’t know if I can succinctly express what I’m feeling. Jazz music is my hideaway. I can get lost in a song and be carried to a far away place when I listen to a song, especially with my eyes closed. Of course, melodies are important, but I do love telling the stories of the songs. I’ve cried a bunch of times whilst singing. At least once, it freaked out one musician I played with. When I sing jazz, I give my heart, soul and everything – sounds a bit dramatic, doesn’t it?

Best practice tip: I practice constantly everywhere and every day.

I practice when I’m driving, showering, cooking and so on. I still “practice” very quietly even when I’m on shift working one of my day jobs as an emergency nurse. My colleagues at the hospital told me that I hum a lot – softly, obviously – during my nursing shift, which I hadn’t realised. I have a cute story from a few years ago: I was preparing to insert a cannula – aka a drip – in an elderly patient; without realising I started humming a song. I think it was “I Can’t Give You Anything But Love”. The patient turned around and said to me, “You’re way too young to know that song.” We ended up doing a bit of a singalong and had a good laugh after.

Influences: Carmen McRae, Karen Carpenter, Nat King Cole, Nancy Wilson, Anita O’Day, The Rat Pack Current listening: I’ve been listening to various versions of “Alfie”, “It Never Entered My Mind” and “I’m Beginning To See The Light”. Also, Carmen McRae and Nancy Wilson are always on high rotation.

Dream collaborator: Veronica Swift, Dianne Reeves, Artemis, Renee Rosnes, Maria Schneider, Emmet Cohen and there’s heaps more on my list. Dare to dream, am I right?

Gear set up: I have one mic, a Sennheiser e945, a mic lead, a mic stand and a tiny mixer, that’s it.

Place: On stage and singing – hands down.

Animal: Dogs

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What is jazz?: Connection. The nature of the music means everyone is intently listening to each other. Not just for time, tuning or cues, but for intention, emotion, desires. There’s no better feeling than being completely in sync with your bandmates while taking the music somewhere it’s never been before.

The impact of jazz: Jazz brings its community together. Everywhere in the world there’s a community of people getting together and making music that’s never been heard before and might not be heard again. It creates extremely special shared moments between close friends and strangers alike.

For many, jazz is a way of life and its mastery provides a purpose to life. It’s harder to see the impact, though it’s as strong as ever.

If only I had known: Music doesn’t need to be so serious. It can be fun or silly, and still be emotionally powerful.

Influences: Avishai Cohen has been a huge influence on my playing and composing.

Current listening: Knower’s album Knower Forever Dream collaborator: I’d love to work with Nai Palm and Hiatus Kaiyote.

Gear set up: I play a German double bass with Spirocores on the E and A, a Pirastro Oliv D and a recently acquired G gut string. I use a Fender Rumble Amp Tune: “Beatrice” by Sam Rivers Ice Cream Flavour: Coffee or pistachio gelato.

Animal: Elephants, followed closely by cats.

Season: Winter, because I prefer the fashion. @enneplaysbass

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enner.bandcamp.com

ENNE

Proudest musical achievement: Aw, Tysm is the best thing I’ve ever done. It’s a concept album about life with autism and features some of the best musicians I know. Everything felt right, from the moment the compositions were finished to the last minute in the recording studio.

RIGNANESE

D OUBLE BAS S, EL ECTRIC BAS S, P IANO, GUITAR SOUTH AUSTRALIA

95

HINANO FUJISAKI

S A XO P H O N E , F LU T E

N E W S O U T H WA L E S

P H OTO S BY G A B RI E L L E C L E M E N T A N D P H O E N IX

Years of playing: Saxophone for about 12 years and flute for 15 years.

What is jazz?: It is hard to define or characterise because it is always changing and evolving with other music, art and culture that is happening around us. My hope with my music is that I can connect with people. I hope my music can resonate with them and evoke different emotions.

Best practice tip: I try to really listen to my sound to get the tone I want. Then I hold onto that sound for as long as I can, though I’m finding it challenging and I’m still working on it.

Current listening: The Glow, Pt. 2 by The Microphones, The Odd River by Helen Svoboda, I get along without you very well by Ellen Arkbro and Johan Graden Dream collaborator: I am based in Sydney so I would like to collaborate with my friends in Melbourne like Flora Carbo, Helen Svoboda and Callum Mintzis. I love their music and I am always inspired by their work.

Tune: “Body and Soul” Place: The beach Ice Cream Flavour: Chocolate @hinafuji_

REVI EW H O ME IS Hinano Fujisaki People Sound

Hinano Fujisaki’s debut EP Home Is, is an original and heartfelt musical expression which delves into her own meaning of home and belonging. The Sydneybased saxophonist and composer seamlessly weaves influences ranging from Japanese folk to the eclectic stylings of Hermeto Pascoal and Miles Davis’s Live-Evil, creating a wonderful sound of her own. No small feat. Amongst captivating rhythms, sophisticated arrangements and pulsating vocals, is also a delicate sweetness. Fujisaki’s compositions find a well-fitted niche with a talented ensemble featuring Bonnie Stewart (drums and voice), Lauren Tsamouras (piano/Hammond) and Jacques Emery (double bass). I note that there is a wonderful honesty to the mix by Dom Corso also. The music radiates warmth, inviting listeners into Fujisaki’s world. I look forward to what the future holds.

Julia Messenger

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J A Z Z B E L L AWA R D S YEA R

AUST RAL IA N JAZZ E N S E M BL E O F THE YEA R

2003

Australian Art Orchestra

2004

The Necks

2006

The Necks BEST AUSTRA L IA N JAZZ E N S E M BL E

2008

Phil Slater Quartet

2009

Old Grooves for New Streets – Way Out West

2010

Epic – Jonathan Zwartz

2011

Australian Art Orchestra/Young Wagilak Group

2012

Andrea Keller Quartet

2013

David Ades & Friends

2014

This Is Always – Julien Wilson Quartet

2015

Suite Sima – Mike Nock Octet

2016

2015 Live Performance Compilation – Jazzgroove Mothership Orchestra

2017

The Migration – Stu Hunter

2018

Hearing the Blood – Barney McAll

2019

Five Below Live – Andrea Keller

2021

This World – Mike Nock, Hamish Stuart, Julien Wilson, Jonathan Zwartz

YEA R

BEST AUST RA L IA N S M A L L JAZZ BA ND

2016

Ithaca Bound – Allan Browne Quintet

YEA R

BEST AUSTRA L IA N JAZZ BL E N D A L BUM

2011

The Subterraneans – The Subterraneans

YEA R

MOST O RI G I N A L AUSTRA L IA N JAZZ A LBUM

2012

Fish Boast of Fishing – Peter Knight

2013

Sarcophile – Marc Hannaford

LUCY IFFLA

AU ST R A L I A N

97

P H OTO BY CAS S EVA N S O C H A RE RN & RAC H E L DAV I S O N

Years of playing: 12 years Inspirational mentors: Lecturers I adored through my training were Allira Wilson and Victoria Newton.

What is jazz?: I’m honestly trying to figure it out still. For the moment, jazz to me is about expression and feeling.

The impact of jazz: Something jazz does well is perhaps encouraging new feelings and thoughts, as it’s always progressing and forging new ideas in its genre.

If only I had known: That it wasn’t so scary releasing your own music.

Best practice tip: As a vocalist, knowing your whole body is your instrument. This means ensuring your breathing is secure and supported, your muscles have been loosened and posture is correct so you may control all facets of your voice/instrument.

Influences: I was strongly influenced by Ella Fitzgerald and David Bowie during my earlier years. Being interested in alternative music drew me to sing jazz.

Current listening: Maddison Cunningham and lots of James Taylor.

Dream collaborator: I would love to one day collaborate with Gian Slater or Gillian Welch.

Tune: ABBA’s “Slipping Through My Fingers” Animal: Dugong Venue: Vinyl Cafe Season: Winter lucyifflamusic.com

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@_lucy _i

REVI EW YOU A RE H O ME Lucy Iffla Independent

VO I C E WESTERN AUSTRALIA

I first fell in love with Lucy Iffla’s tone and delivery through Mace Francis’s album Isolation Emancipation, so her debut as a leader has come highly anticipated. You Are Home is like gazing at an exquisite dusky, amber-beaded horizon in an unknown city. Full of beauty, warmth, longing and nostalgic happiness, it’s a true delight to experience.

The band – Harry Mitchell (piano), Alistair Peel (bass), Matthew Gudgeon (guitar), Ricki Malet (trumpet), and Ben Vanderwal (drums) – unify to create a lush soundscape that carries Lucy’s positive and insightful lyricism throughout the length of the album. Two words: go listen.

Josh Underhill

98

Years of playing: 24 Years Inspirational mentors: My first piano teacher Margriet Pendavingh was like my music grandmother; she also taught my mother and sister from a young age, so we were considered family. She was bizarre and strong-willed, but knew how to inspire musical performance in young people. My trumpet teacher Dave Hirst used to give me every opportunity to record, attend rehearsals and sit in on gigs – some of my earliest experiences that influence what I do now.

What is jazz?: One of the defining characteristics of jazz is the harmony, but then again, the great classical composers were writing just as killer harmony, though just calling it a different thing.

Another aspect of jazz is the emphasis on improvisation. But there are many improvisers in the world who wouldn’t consider themselves jazz musicians. And if the defining characteristic of jazz is improvisation, then does that mean the big band tradition of Duke Ellington and Count Basie aren’t jazz? At the end of the day it’s all music, and jazz is just a way of thinking about or interpreting music.

If only I had known: There’s more to it than “If you work hard enough you can do anything.”

Best practice tip: Start slow and work it up to speed in gradual increments.

Influences: In music: my idols include Chick Corea, Brad Mehldau, Keith Jarrett, Duke Ellington, though the list is endless.

In life: my partner and my dogs.

Current listening: I listened to Jessica Williams Jazz in the Afternoon yesterday and that was pretty great.

Gear set up: Depends on the gig ... but Yamaha C series pianos are my favourite.

Food: Pancakes or doughnuts Animals: Dogs and giraffes Season: Summer jackearle.com | @jackjackearle jackearle.bandcamp.com

PIA N O, T RUM PET, VO IC E VICTORIA

JACK EARLE

99

Years of playing: Happily for me, a really long time.

GAI

BRYANT FLUTE, SAXOPHONES NEW SOUTH WALES

Inspirational mentors: The two people that I still hear in my head are soprano saxophonist Jane Ira Bloom and pianist/composer/arranger Jim McNeely.

Jane would start every lesson by asking me what I’d been delving into. Once we’d gone through the weekly homework, off we’d go into a new adventure.

One memorable occasion we focused on creating small thematic variations across an arrangement and spent the afternoon diving into Tchaikovsky ballets for inspiration. Jim’s lessons followed a similar pattern of questions, listening, analysis, experimentation and stories of his experiences. I loved those lessons.

Proudest musical achievement: Palacio de la Rumba’s Talking in Cuban. It was a massive project with the potential for so many setbacks starting with getting Cuban percussionist Justo Pelladito into the country.

Following with putting 18-piece Palacio de la Rumba together and being reliant on achieving a crowdfunding goal to underwrite the project. Fortunately, the stars aligned. It was a great achievement where, magically, we all pulled together and everything worked.

The impact of jazz: Jazz continues to influence both popular, classical and art music, soundtracks for film and television, dance movements, and inflections of speech. In the case of Beat Poetry, it created popular slang that is still used today. Jazz has a rhythmic freedom that allows it to assimilate the rhythms of other cultures and feeds the freedom of spirit in improvisation and experimentation. Most importantly music affects how we feel. COVID reminded everyone of the importance of music in our lives with live and streamed concerts bringing people together to experience unique events.

If only I had known: Persevere, don’t take rejection too seriously, learn to push through. It takes time to develop a voice, to nurture your love of music and keep being inspired.

Influences: For tone Mark Simmonds. Concepts Wayne Shorter. Arranging Jim McNeely. Playing soprano saxophone Jane Ira Bloom Dream collaborator: Might be a dream … Danilo Perez.

Tune: My favourite today is “Think of One”.

Animal: Dogs Venue: El Horses in Nowra. gaibryantspareparts.com www.facebook.com/gai.bryant.five

P H OTO BY A RWYN B RYA N T

100

Inspirational mentors: The faculty at the Elder Conservatorium when I was a student were fantastic.

I had some great experiences with Dusty Cox, Mark Simeon Ferguson, Peter Dowdall, John Aue and Derek Pascoe. All wonderful musicians in their own right, too.

What is jazz?: Jazz is pretty broad, but for me, it is an opportunity to play and listen to music that strikes various balances between honouring tradition and embracing innovation.

Having the flexibility to perform in so many different contexts in jazz and jazz-adjacent music means there’s always something interesting to look forward to.

Best practice tip: The best practice I do is typically when I have something specific to focus on and have identified a way to measure my success (or lack thereof). If I work on something that becomes incrementally more difficult, then it’s easier to recognise progress being made.

ALEX TAYLOR

TROMBONE, BASS T R U M P E T, S O U S A P H O N E SOUTH AUSTRALIA P H OTO BY V I N N I E M I RA N DA

Current listening: I’ve listened to a lot of Clark Terry/Bob Brookmeyer Quintet recently. I am also a big Nils Wogram fan. I just recently had a good listen to the debut release Meteors from the Radial Quartet.

They are an Adelaide band that have a guzheng in their line-up, and they are a treat to hear live.

Place: Bakery on O’Connell – I didn’t realise how much I needed a 24/7 bakery in my life until I moved to Adelaide.

Ice Cream Flavour: Anything with hazelnuts in it.

Venue: The Wheatsheaf Hotel, affectionately known as The Wheaty. alextaylor.au alextaylortrombone.bandcamp.com

101

Years of playing: 16 years now.

Inspirational mentors: My Mum and Dad. But if you are talking about music; Miroslav Bukovsky, Reuben Lewis and Ben Foster in high school, then Rob Burke, Steve Magnusson and Paul Williamson at university. All of these people have supported and inspired me so much throughout my music career in many ways.

Proudest musical achievement: “A Letter” was the first song I composed for solo trumpet and I think encapsulates the sound I want to explore more of. I also just recorded my first studio album with my band ASHES which I absolutely cannot wait to share with the world, hopefully in early April.

What is jazz?: This is the most difficult question to answer. To me it is anything. Wind in the trees, and truck drum brakes rattling down the hill, mixed with trumpet and electronics. I think the one thing it must include is intentional improvisation on something that makes a sound.

The impact of jazz: This is hard to say. I don’t think jazz reaches much of society these days, but I hope it makes them feel comfortable with the uncomfortable and unexpected.

Current listening: Abbey Road by the Beatles, songs by Adrianne Lenker, Origami Harvest

by Ambrose Akinmusire, Chiaroscuro by Arve Henriksen, Tusk by Fleetwood Mac, and Song X by Pat Metheny and Ornette Coleman.

Dream collaborator: Bill Frisell, absolutely. I also greatly admire Andrea Keller and Helen Svoboda, and would one day love to collaborate with both of them (separately or even together).

Gear set up: Mouthpiece from AR Resonance, Bach 37 trumpet, DPA 4099 clip on mic, and a Mono pedal board powered by a Strymon Zuma, Vocoloco preamp, Hedra Harmoniser by Meris, Boss Octave pedal, Sunn O))) Life Pedal V3 by Earthquaker Devices, Boss Digital Delay, Immerse Reverberator MkII by Neunaber, Ditto X4 Looper

by TC Electronic and Yamaha DBR 10 speakers.

Place: The Snowy River Food: Burritos and pasta Animal: Cows Season: Autumn ashleyballat.com

ASHLEY BALLAT TRUMPET V I CTO RI A

102

AU ST R A L I A N

J A Z Z B E L L AWA R D S YEA R

AUST RAL IA N JAZZ C O M POS I T I O N O F T HE YEA R

2007

“Five Bells” – Paul Grabowsky

2008

“The Fool Poets Portion” – Eugene Ball BEST AUST RA L IA N JAZZ SO N G

“Till Death Does Me Part” – Johannes Luebbers

2010

“The Sea” – Jonathan Zwartz

2011

“Song from the Highest Tower” – Eugene Ball

2012

“Spir” – Luke Howard & Janos Bruneel

2013

“Joe the Kid” – David Ades & Friends

2014

“Trout River” – Julien Wilson

2015

“Forte Pulse Torte” – Daniel Susnjar

2016

“Nectar Spur” – Barney McAll

2017

“Eagle Fish” – Stu Hunter

2018

“Judgement Day” – Speedball BEST JAZZ WO RK O F TH E YEA R

2019

“Animarum” (from Animarum) – Jonathan Zwartz

2021

“Spaccanapoli” (from Love Is a Temporary Madness) Vanessa Perica

YEA R

BEST PRO DUC E D A L BU M

BEST AUST RA LIA N I N ST RUM EN TA L JAZZ A LBUM

2016

Beginning and End of Knowing – Mike Nock / Laurence Pike

Mooroolbark – Barney McAll

2017

Iron in the Blood – Jeremy Rose and the Earshift Orchestra

Consider This – Andrea Keller and Tim Wilson Duo

2018

Hearing the Blood – Barney McAll

Hearing the Blood – Barney McAll

2019

Zephyrix – Barney McAll

Across a Field as Vast as One – Sam Anning

2021

The Shape of Jazz – ZedSix

The Dark Pattern – Phil Slater

MIA BARHAM

2009

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Years of playing: 15 years Inspirational mentors: Tarko Sibbel, Angela Davis and Paul Williamson.

The impact of jazz: I think it offers a deeper connection to the performer and the message of the music. I believe this can make a huge impact on society and that jazz can be a vehicle for sharing emotions in a more empathetic way than words can.

Best practice tip: Always make time to do the things you love in your practice sessions and work hard in them.

Influences: My first album that I adored was Kristin Berardi’s Hope In My Pocket, especially the track “A Mother’s Plea”, and I’ve loved her music ever since. Andrea Keller, Angela Davis and Nat Bartsch were all pivotal too.

Current listening: On high rotation is Melbourne’s Folk Bitch Trio – I am a big fan!

Gear set up: Selmer Mark VI alto saxophone (my grandpa’s old sax) with Ted Klum mouthpiece and Francois Louis ligature, Muramatsu flute.

Place: Anywhere where there is snow is perfectly fine with me.

Food: Tiramisu Animal: Zebra Season: Winter mia-barham.com @miarosebarham_ miabarham.bandcamp.com

REVI EW IN WA RDS Mia Barham Sextet Independent

SA XO PH O N E , FLU T E VICTORIA

Mia Barham’s second album cements her reputation as a sensitive composer and improviser on alto saxophone and flute. As you might expect from the title, the mood is contemplative and melancholic. With “Murmurs” the theme is established and handed around like Chinese whispers, the individual voices of the sextet emerging pristine and moving with consummate skill through the tonal colours of Barham’s four-part suite. On the last track “Hush”, they are joined by Julien Wilson whose raucous tenor saxophone disrupts the tranquillity. Barham responds with a flute line almost tripping over with enthusiasm before collapsing back into a more circumspect breathiness, a sigh of relief and quiet optimism.

Jurate Sasnaitis

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G U I TA R , V O I C E

QUEENSLAND

MICHAEL J. BRADY

Years of playing: 18 years The impact of jazz: I think Jazz has a funny place in the Australian cultural sphere, seen sitting in either the art music sphere, or it distinguishes itself as being distinctly separate from classical – sort of like the cool-older-sibling. I think the reality in the middle is that “jazz” spaces can be a home to exploratory music that brings together many compelling musical voices that ripple out into the broader music scene.

If only I had known: Write bad music – or rather – make music that has permission to turn out however it’s going to turn out. Having a portion of my practice that is simply about relishing in process, has really been so empowering as a musician.

Influences: Guitarists such as Julian Lage, Gilad Hekselman, and Wolfgang Muthspiel, and composers such as Alister Spence, Sandy Evans and Petros Klampanis.

Gear set up: Eastman AR503CE with some sort of Gibson pickup, with one or both my Henriksen Jazzamp and Fender Hot Rod, combining my Keeley Delay Workstation with expression pedal and volume pedals.

Place: The Lane Cove River Weir, Chatswood, NSW. Animal: I’ve got a soft spot for the tawny frogmouth.

Season: I’m team Autumn. michaeljbrady.com | @michaeljbrady _ michaeljbrady.bandcamp.com

REVI EW BRA DY​/​/​D O N KIN​/​/​PH IP PS Michael J. Brady Independent

P H OTO BY A P RI L J O S I E P H OTO G R A P HY

A trio sound is a calling card and a brand. It can take years to develop its full potential, or it might gainfully blossom from the beginning and take full flight, but toying with it too much initially may risk alienating its loyal fans with too much icing on the cake. This debut recording features six original compositions from Michael J. Brady (guitar) and Benjamin Phipps (double bass) and three improvisations from the trio. Tracks six and seven feature tenor saxophonist Sandy Evans, with trumpeter Deven Rahman joining on the latter. This trio is definitely on its toes and a real treat for fans with a contemporary preference. As for the trio sound, let’s enjoy the cake as it is and relish every bite of it without any extra toppings.

Barry O’Sullivan

A RT WO R K BY

T H EO ST R AS S E R

L I M I T E D E D I T I O N T- S H I R T S

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MARY

DOUMANY H A R P, V O I C E V I CTO RI A

Years of playing: Harp for 45 years, voice for 35 years.

Inspirational mentors: Una Morgan. She was one of the first professional harpists in Australia, playing with the Sydney Symphony in the 1940s. As a teenager, I remember falling out of my four-hour lessons at her place, completely wrung out. She was an oldschool teacher. Good technique and a deep understanding of harmony and rhythms were “drummed” into me.

Proudest musical achievement: I’m proud of the album Embrace, which was written and produced by Jeremy Alsop and myself under the moniker of The Lovers in 1995.

We had a great line up for the live shows. Players included David Jones, Joe Chindamo, Darryn Farrugia, Alex Pertout, Slava Grigoryan, Brett Garsed, Simon Patterson, Luke Howard and the list goes on.

What is jazz?: Jazz means freedom and adventure. Total musical freedom across harmony, rhythm and timbre. Jazz expresses every emotion, every feeling in a completely spontaneous setting. It flows like water, burns like the sun, dissolves like a gas and then brings you home to earth. Really.

The impact of jazz: Everyone who has heard music in their life, has in some way been influenced by jazz music, whether they know it or not.

If only I had known: Trust yourself completely and don’t let other people dictate to you about style and career decisions. Your gut is always right. Oh, and experiment fearlessly.

Best practice tip: Start work on the hardest bars first – every time you start your practice – so you know them twice as well as the rest of the score.

P H OTO BY H A N A S C H ES L I N G E R

Influences: The two harpists who have influenced me the most are Dorothy Ashby, the legendary African American player and Zeena Parkins, the experimental harpist from New York, who I encountered listening to John Zorn’s projects. These days, I’d say UK guitarist Derek Bailey, Japanese guitarists Tetuzi Akiyama (who I had the honour of playing with in 2015) and Taku Sugimoto, and the incredible bassist Tetsu Saitoh. Saitoh and I have a live album due for release in Japan on vinyl in 2024-25. Singing influences are Sarah Vaughan, Jean Lee, Diamanda Galás and our own fabulous Christine Sullivan, who I worked with during the 90s and 00s.

Current listening: Cecil Taylor’s Live in the Black Forest, Miles Davis’s Bitches Brew, Antelodic’s To Iceland, To Iceland, Eric Dolphy’s Out to Lunch Dream collaborators: The people I’m working with right now, local stars Robbie Melville, Nat Bartsch and Gideon Brazil.

Gear set up: Acoustic pedal harp, Schertler bug and pre amp, Kustom amp, plus Delta electric harp and an assortment of pedals, Sennheiser 945 vocal mic.

Tune: “Lush Life” by Strayhorn Food: Anything cooked with love and eaten to a jazz accompaniment, in great company.

Ice Cream Flavour: Matcha, I’d have to say. Or Double Belgian Chocolate Animal: Birds. Because the little buggers get to fly!!!

Venue: Ftarri in Tokyo. It is a venue and recording shop, run by Yoshiyuki Suzuki, the most dedicated music entrepreneur of experimental music you could ever find.

Season: Winter. Sit around a fire, play music and have a few drinks. marydoumany.com

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AU ST R A L I A N

J A Z Z B E L L AWA R D S YEA R

BEST AUSTRA L IA N C O N T E M PO RA RY AVANT- GA RD E JAZZ A L BUM

BEST AUST RA LIA N M OD ERN JAZZ A LBUM

2014

Monash Art Ensemble – Monash Art Ensemble

Wave Rider – Andrea Keller Quartet

2015

Hexis – Monash Art Ensemble, George Lewis

Su Su Nje – Daniel Susnjar

YEA R

BEST AUST RA L IA N C LAS S I C/ T RADIT IO N A L JAZZ A L BUM

BEST AUST RA LIA N JAZZ VO CA L A LBUM

BEST AUST RA LIA N C ON T EM PORA RY JAZZ AL BUM

2003

Collected Works – Allan Browne

Making Wings – Judy Jacques

Mikrokosmos – Andrea Keller

2004

Bob Barnard's Jazz Party – Bob Barnard

The Secret – Alison Wedding

Big Small Band Live – Mike Nock

2006

Live at Umbria Jazz '05 – Joe Chindamo

Moon of Manakoora – Janet Seidel

The Assemblers – Jamie Oehlers

2007

Five Bells and Other Inspirations – Allan Browne's Australian Jazz Band

Grace – Lisa Young

You R Here - Session 2 – Jamie Oehlers Double Drummer Group

2008

Cuttin' Capers – Sweet Lowdowns

Nightlight – Megan Washington

Little Claps – Andrea Keller Quartet

2009

Live at the Famous Spiegeltent – The Syncopators

Work Songs – Tina Harrod

Lost and Found – Oehlers, Grabowsky, Beck

2010

Homage – Sam Anning, Allan Browne, Marc Hannaford

If You Were There – Kristin Berardi

The Gathering – Stu Hunter

2011

The New Sheiks – Leigh Barker

Elly Hoyt – Elly Hoyt

An Accumulation of Subtleties – Mike Nock Trio

2012

Collected Works Volume II: Fifty Years of New Orleans Jazz – Allan Browne

Kristin Berardi Meets the Jazzgroove Mothership Orchestra – Kristin Berardi Meets Jazzgroove Mothership Orchestra

1234 – Nick Haywood Quartet

2013

A Great Day for the Race – Flap!

The Song That Sings You Here – Chris McNulty

Magnet – MAGNET

2014

This Is Always – Julien Wilson Quartet

Rise and Fall – Allira Wilson

2015

A-Z of Jazz – James Morrison

We Could Be Lovers – Sarah McKenzie

2016

Where or When – Kristin Berardi

2017

A Flower is a Lovesome Thing – Michelle Nicolle Quartet

2018

Still Night: Music in Poetry – Andrea Keller

2019

Trombone Song Cycle – Josh Kyle

2021

Our Songs, Not Songs – Kristin Berardi and Sam Anning

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Years of playing: 40 years. Started when I was eight years old.

Inspirational mentors: Brent Stanton is my most inspirational teacher.

The impact of jazz: Jazz is a democratic music.

When playing we have to work with each other and we don’t always know what each other is actually going to play. This requires a lot of give and take and patience, understanding and less ego. I know the audience can hear this happening too. I feel society could benefit from more give and take from different societal groups, more patience and more understanding of each other.

If only I had known: You have to be your own teacher. Teacher’s are there to guide you but ultimately you have to figure it out for yourself.

Influences: Musically my biggest influence is Lee Morgan. I had my father’s record collection when I was young but it wasn’t until I bought The Sidewinder with my own money did I really get into jazz.

Current listening: Jim Hall – Something Special Dream collaborator: Mike Nock Place: Home Food: Chicken stir-fry Venue: Sydney Opera House Season: Autumn dqjazz.com

REVI EW MORGAN Dan Quigley Independent

Brisbane-based trumpet player Dan Quigley’s release consists of seven original compositions for his sextet, steeped in the 60s hard-bop tradition.

Dan’s “lead sheet” style compositions provide just the right amount of structure to stimulate inspired soloing without placing excessive demands on the ensemble that might inhibit their collective flow. Dan keeps the mood bright but relaxed with his straightahead medium to medium-up swing and Latin tunes. The recording captures the energy of a live performance and Dan’s tune “Front Bar Vibes” gives an insight into the context this music might best be appreciated in.

Stephen Hornby

DAN

QUIGLEY TRU M PET QUEENSLAND

Years of playing: Piano since age 6 and drums since age 13.

Inspirational mentors: Peter Blick – he worked out how to motivate me and taught me how and what to practice. I learnt drums from the flute teacher at secondary school and as a result was actually mostly self taught. I spent college just trying to change my grip and keep up with the musical language that I was being introduced to for the first time. After I finished college, I needed someone to really ground my technique and general kit vocabulary – Peter realised I needed to be really pushed to invest the hours into practice and opened my eyes to a whole new world of stylistic language.

Proudest musical achievement: My band Kennedy Snow’s album Follow. The players on that album – Nina Ferro, Kellie Santin, Gianni Marinucci, Bob Sedergreen, Grant Windsor and Kim May – gave me the confidence to believe in my songwriting and playing skills. It encouraged me to broaden my perspective on who I could collaborate with.

What is jazz?: I think jazz is a style today that can encompass the broadest spectrum of approaches and styles, but always with an improvisational context within its framework.

The impact of jazz: If we look at our general music industry today, so many “jazz-trained” musicians are at the heart of so many sectors and bring a jazz-informed sensibility to those performance environments.

If only I had known: How to approach practice, and also to start setting aside a superannuation amount out of gig income.

Best practice tip: I always start by playing something that makes me happy as a warm up to get me into the practice room and use that as a springboard to playing the things I need to work on.

Influences: Bob Sedergreen – he was my sliding doors moment – I met him whilst a student at the University of Melbourne, helping out a friend as a favour in the jazz class at the Conservatorium (even though I wasn’t enrolled there). He changed the course of what I wanted from life and who I wanted to be, was there again when I accidentally got into the VCA (while still at Uni Melb) and continued to constantly believe in me and book me in his bands, giving me the confidence to persist.

To this day, I learn something every gig I play with him and I treasure the musical relationship we have – he’s really like my musical Dad. Current listening: Cory Wong, Brett and Kate and Lizzo Dream collaborator: I’d really like to go down the songwriting path that allows me to record with all different vocalists and backing combinations on top of who I already collaborate with – Kristin Berardi, Kate KelseySugg, Nilusha Dassenaike, Andrea Keller, Luke Howard are just some.

Gear set up: Changing between my Ludwig Centennial 12/14/22” with 14” Supralite snare and Pearl Masters 12/14/20” with 14” maple snare with Gibraltar hoops. Cymbals mostly old Zildjian, couple Sabian and a Paiste 602 flat ride Tune: “You Should Be Dancing” – the Bee Gees Venue: The Jazzlab (local), SFJazz (overseas) Place: Hawaii, Food: Ice cream, Animal: Cats kennedysnow.com

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@kennedysnow_band

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HORBELT DRUMS, PIANO, BAS S, TRUMPET V I CTO RI A

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F E S T I VA L S 2024

2025

April 26-30 Adelaide Jazz Festival Adelaide, SA

August 23-25 Newcastle Jazz Festival Newcastle, NSW

February SoundOut Festival Canberra, ACT

www.adelaidejazzfestival.com

www.newcastlejazz.com.au

www.facebook.com/

May 3-5 Generations in Jazz Festival Mt Gambier, SA

September 20-29 York, WA

www.generationsinjazz.com.au

May 3-5 Newport Jazz Festival Newport, VIC www.melbournejazzjammers.com.au

May 24-26 Big Band Blast Bathurst, NSW www.bigbandblast.org

May 29 - June 2 Cronulla Jazz and Blues Festival Cronulla, NSW www.cronullajazzandbluesfestival.com

June 2 Sydney Con Jazz Festival Sydney, NSW www.sydneyconjazzfestival.com

June 7-10 Merimbula Jazz Festival Merimbula, NSW www.merimbulajazz.org.au

June 7-9 Castlemaine Jazz Festival Castlemaine, VIC www.castlemainejazzfestival.com.au

yorkfestival.com.au

October 18-20 South Coast Jazz Festival Goolwa, SA www.sajazzfestivalsinc.com

October 18-27 Melbourne International Jazz Festival, Melbourne, VIC www.melbournejazz.com

October (TBC) Inner West Jazz Fest Annandale, NSW innerwestjazzfest.org

October (TBC) Sydney International Women’s Jazz Fest Sydney, NSW www.sima.org.au/siwjf/

November 1-3 Wangaratta Festival of Jazz & Blues, Wangaratta, VIC www.wangarattajazz.com

November (TBC) Perth International Jazz Festival Perth & South West, WA www.perthjazzfest.com

July 25-28 Devonport Jazz Festival Devonport, TAS

December (TBC) Melbourne Women’s International Jazz Festival Melbourne, VIC

www.devonportjazz.com.au

www.mwijf.org

August 2-4 Inverloch Jazz Festival Inverloch, VIC

December 26-31 Australian Jazz Convention Mildura, VIC

www.inverlochjazzfestival.com

www.australianjazzconvention.org.au

SoundOutFestivalandEvents

February TBC MONA FOMA Hobart/Launceston, TAS www.mofo.net.au

February/March (dates TBC) Clarence Jazz Festival Clarence, TAS www.clarenceartsandevents.net/clarencejazz-festival-2024/

February 9-11 Port Fairy Jazz Festival Port Fairy, VIC www.portfairyjazz.com.au

February (dates TBC) Eltham Jazz, Food and Wine Festival, Eltham, VIC www.elthamjazz.com.au

March (dates TBC) Kiama Jazz and Blues Festival Kiama, NSW www.kiamajazzandbluesfestival.com.au

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GIGS Tony Gorman’s Monday Club The brilliant and mercurial Tony Gorman makes a longawaited and welcome return to live performance on Thursday April 18, at Johnston St Jazz, Annandale. The Monday Club grew from a chance meeting between the clarinettist/saxophonist Gorman and French horn player Stephen Morley and has become something more with Boyd (contrabass clarinet), Mary Rapp (cello, bass) and Steve Elphick (bass).

Sound Sorcery Sound Sorcery is a new jam series in Sydney that began in January this year for trans, non-binary and female artists. The final two April shows in this eight event series presented by The New Normal collective are, Guitar Lords with Hilary Geddes and Stella Anning (April 18) and Bold and Brassy: Big Band Party featuring Harri Harding (April 26), held at The Bearded Tit, Redfern.

Pat Jaffe returns to JMI Melbourne-based pianist Pat Jaffe will be returning to Brisbane to reunite with some of his MADE NOW MUSIC labelmates, Jess Spina, Tristan Rogers, Connor Perkins and Charlie Hill. They will be performing a mix of Jaffe’s originals and Australian standards at JMI Live, Bowen Hills on Friday April 26. And it’s even his birthday.

LIVE

Jazz and Improvisation Large Ensemble Fest A “night of eclectic sounds” is promised by University of Melbourne’s Jazz and Improvisation department in this showcase of talents by their emerging contemporary improvisers and staff, as they perform in a dozen large ensembles, including Big Band Mini directed by Vanessa Perica, Aviana vocal ensemble directed by Gian Slater, Tonos guitar ensemble directed by Stephen Magnusson, Hylife directed by Jordan Murray, Yambu percussion ensemble directed by Alex Pertout, and Diamond Hands noise ensemble directed by Barney McAll. Thursday May 9 at Lionel’s Lounge, Southbank.

The Syncopators – 40th Birthday Long-time Australian jazz favourites, The Syncopators are still going strong after 40 years. Since 1984 they have released almost 20 albums and toured internationally. Having recently performed at The Arts Centre in Melbourne, don’t miss this special anniversary celebration as part of Geelong Arts Centre’s Delightful Days and Matinees series on July 31 at 11am (9:30am for complimentary morning tea).

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Additional Content Contributors

Ivan Gellie – piano, leader of IG Big Swing Band

Adelaide Jazz Festival Adelaide Music Collective APRA AMCOS Australian Jazz Convention Mace Francis Melbourne Jazz Co-Op Music Australia Creative Original Music Adelaide Sound Sorcery Sounds Australia Wangaratta Festival of Jazz & Blues Wellington Jazz Collective

David Hathaway – member of Victorian Jazz Club

Additional Photographic Contributors

Dingo wishes to acknowledge the passing of the following valued members and contributors of the Australian jazz community and extend our condolences to their beloved friends and family: Scott Dunbabin – double bass

Stephan Markovitch – founder of Music with Frontiers (Hobart), music aficionado Nick Mulder – trombone Doug Wignall – drums

SUPPORT ACT CRISIS REL IEF & WELLBEING HOT L I N E Support Act is Australia’s only charity to deliver crisis relief services specifically to artists, crew and music workers as a result of ill health, injury, a mental health problem, or some other crisis that impacts on their ability to work in music. This support extends to all genres, including jazz in all its varied forms.

Wellbeing Helpline – free & confidential 24/7 support: 1800 959 500 General Enquiries | Crisis Relief: 1300 731 303 www.supportact.org.au

Pawel Czerwinski Daria Durand Milad Fakurian Allec Gomes Steve Johnson Crawford Jolly Masaaki Komori Jr Korpa Norbert Kowalczyk Jd Mason Nima Mot Luca Nicoletti Adrien Olichon Gilberto Olimpio April Pethybridge Artem Podrez Possessed Photography Anna Pou Jonathan Tesmaye Salvador Evie Shaffer Annie Spratt Viktor Talashuk Jon Tyson Finn Whelen

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