Dingo Australian Jazz Journal - Issue 8 Spring 2024

M USI C REVI EWS EDUCATI ON G I GS

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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.

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US E YOUR VO ICE , YOU R ARTISTIC TALE NTS, TO P RO MOT E A WO RLD FREE O F WAR AND WE APO NS. Artwork by Kazem Bokaei

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EDITOR Adam Simmons | editor@dingojazz.com CO-EDITOR & MARKETING Cal Barry | marketing@dingojazz.com ART DIRECTOR Perri Winter | artdirector@dingojazz.com WRITERS Des Cowley, Rob Glaesemann, Stephen Hornby, Barney McAll, Julia Messenger, Roger Mitchell, Tim Nikolsky, Barry O’Sullivan, Greg Phillips, Michael Prescott, Josh Underhill, Dirk Zeylmans van Emmichoven COVER ART Sally Dunbar | www.sallygallery.com ARTIST Meg Kolac | www.megkolac.com SUBSCRIBE subscriptions@dingojazz.com ADVERTISING marketing@dingojazz.com PUBLISHED & DISTRIBUTED BY Sounding Grace Pty Ltd 339 Clarendon St, South Melbourne, VIC 3205, Australia 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.

Sumo Laser is an environmentally responsible paper manufactured under the ISO14001 Environmental Management System, using elemental chlorine free pulp. Sumo Laser is FSC Certified Mix pulp.

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editor Wominjeka/Welcome Jazz has always thrived on its ability to adapt and innovate, responding to shifting landscapes while pushing the boundaries of creative expression. Today, as ever, the jazz community faces challenges – rising costs, heightened competition for funding and limited visibility within the broader cultural context – but its enduring strength lies in resilience and a constant drive for innovation.

Initiatives such as the Western Australian Jazz Project (WAJP) and artists such as Barney McAll exemplify how jazz musicians are proactively carving out pathways for both artistic and financial sustainability. WAJP has embraced not only performance and education but is exploring creative revenue streams, while McAll’s self-released albums are an avenue to retaining full control over his music and developing a sustainable model for reaching his audience. This combination of creativity and pragmatism ensures that these artists are not just surviving but thriving.

On a larger scale, networks like the World Jazz Conference (WJC) illustrate the power of collaboration, a force that drives jazz locally and globally. In Australia, organisations such as Melbourne Jazz Co-operative and Sydney Improvised Music Association play a similar role, providing platforms for both emerging and established artists to connect, experiment and grow. As with the WJC, these organisations foster cross-cultural and cross-border collaborations, enriching the jazz ecosystem by nurturing both local talent and international exchange.

Looking ahead, jazz’s future will continue to be shaped by those who embrace both resilience and innovation. As Adrian Kelly from WAJP reflects, “By having a professional ensemble setting a benchmark for not only performance quality, but conditions and expectations, we hope to create a situation of ‘a rising tide lifts all ships.’” It’s this kind of attitude towards excellence and collaboration that will ensure jazz’s survival and growth in the years to come.

Enjoy Adam Simmons

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contents

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EDITOR’S LET TER

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S POTLIGHT

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PROFILE THE WESTERN AUSTR ALIA JA ZZ PROJECT

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ALL TH E THINGS WE ARE JA ZZ COLLECTIVES IN AUSTR ALIA

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LESSONS FROM TH E JOU RN EY INDEPENDENTLY RELE ASING IMPROVISED M USIC

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JAZZ IN CAN BERRA

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REVIEWS

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ARTIST ABI LEE

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EDUCATION HISTORY LESSON: BILL ARMSTRONG REMIND ME NOT TO FORGET UNLOCKING THE L ANGUAGE OF BEBOP YOUNG ARTISTS

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GE AR REVIEWS

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LIVE

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GLOBAL PERS PECTIVE BUILDING BRIDGES: WORLD JA ZZ CONFERENCE WORLD JA ZZ NET WORK GR ANT WRITING 101: PREPARING YOUR BUDGET

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CONTRIBUTORS

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B U M PY P H OTO BY G EO RG I A M E I N

spotlight

HERBIE HANCOCK

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F E S T I VA L S ME LBOURNE INT E RNAT IONAL JAZZ FEST IVAL

N O RI KO TA DA N O

Melbourne International Jazz Festival will feature over 400 artists across 100 performances in 10 days between 18-27 October. The festival will kick off with legendary pianist Herbie Hancock headlining Jazz at the Bowl at the Sidney Myer Music Bowl, alongside Marcus Miller and local soul artist Bumpy. Highlights include artist talks with Nubya Garcia and Brandee Younger, as well as performances by Esperanza Spalding, Antonio Sánchez, Jazzmeia Horn and Vince Jones, who will celebrate his 50th career anniversary. Local talent will also be showcased, with Take Note Jazz Leader Erica Tucceri premiering a new work at Howler.

SYDNEY INT E RNAT IONAL WOME N’S JAZZ FEST IVAL Sydney International Women’s Jazz Festival (SIWJF) returns from 24 October to 3 November, showcasing over 60 global and local artists across seven key Sydney venues. Now in its 13th year, the festival, produced by SIMA, continues its tradition of promoting artistic innovation and diversity, spotlighting leading women in jazz. “The SIWJF is a testament to the power of women in shaping the world of music,” says Artistic Director Zoe Hauptmann. This year’s line - up features headliner Jazzmeia Horn, Gian Slater’s latest solo project, Noriko Tadano with Sayako Ohno, “She” Ensemble and Audrey Powne.

S H E E N S E M B L E – P H I L L I P PA M U R P HY- H AST E P H OTO BY N AT CA RT N EY

A N D REW BA L L P H OTO BY M O RG A N RO B E RTS

BRIS BANE INT E RNAT IONAL JAZZ FEST IVAL Brisbane International Jazz Festival (BIJF) will be offering a wide-ranging program between 13-22 October. Collaborating with prominent venues such as the Queensland Performing Arts Centre and the Jazz Music Institute, the festival brings together acclaimed international and local artists. Featured performances include Herbie Hancock and Esperanza Spalding, alongside acts like Federico Casagrande and Jess Green. BIJF also shines a spotlight on local talent, with Andrew Ball Quartet and TYDE delivering standout shows. A special highlight is the performance of the full Cuban Fire Suite by the South East Region Jazz Orchestra, presenting a unique Latin jazz experience.

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WA N GARAT TA F ESTIVA L O F JAZZ & BLUES With a surprise return, thanks to the efforts of a new team, the Wangaratta Festival of Jazz & Blues is running 1-4 November. Offering a diverse array of performances across various venues, the festival opens at The Railyard Wangaratta with the Mark Fitzgibbon Trio, Glenn Skuthorpe and Jimi Hocking with Nardia. Other key events include the National Jazz Awards (saxophone), Vince Jones Quintet, Joel Havea, The Daisies and Joys Njambi’s Queens of Soul. The festival concludes with Milawa Monday, a full day of music at venues including Milawa Cheese Company and Brown Brothers Winery.

PE RT H I N TERNATI ON A L JAZZ F EST IVAL Perth International Jazz Festival is gearing up for its largest lineup ever in 2024, spanning from 24 October to 10 November across multiple venues in Perth and regional locations. Featuring over 60 performances, the festival will showcase an eclectic mix of international and local talent. Highlights include five-time Grammy winner Esperanza Spalding, whose debut performance in Perth sold out in just seven days, and DJ Carl Cox’s blend of jazz, soul and funk. Festival favorites and emerging stars such as Jazzmeia Horn and Sarah Hanahan will also perform.

M E L BOU RN E WOMEN ’S I N TERN ATIONAL JAZZ FEST IVAL This December 8 through 15 will see the return of Melbourne Women’s International Jazz Festival presenting an exciting lineup of talented artists.

Highlights will include the premiere performance of Melbourne Amplified Strings and Louisa Rankin trio, preeminent a cappella ensemble Coco’s Lunch and offerings from Abi Lee Trio. 2024 will also see the launch of several albums including offerings from Holly Moore Sextet, Lucy Clifford Quartet, Andrea Keller Transients and Jess Green. Accompanying this year’s festival will also be a range of free symposiums and workshops commencing 7 December.

V I N C E J O N ES

AUSTRALIA N JAZZ C ON V EN TI O N The 78th Australian Jazz Convention will take place in Mildura, 26-31 December, featuring performances at the Powerhouse Precinct. The event includes workshops, public performances, a street parade, a gospel service, a piano recital and the Original Tunes Competition. American trumpet player Jon-Erik Kellso will be attending. The convention will also host a welcoming party and NYE celebration at the Mildura Settlers Club. Registration options include free registration for student musicians under 25 years of age.

C LA RE N C E JAZZ F ESTIVA L The Clarence Jazz Festival (CJF) returns to nipaluna/Hobart’s Eastern Shore between 20-23 February, celebrating its 29th year. Festival Ambassador and acclaimed vocalist Kristin Beradi will lead a special set with Sandy Evans and Andrea Keller, as well as collaborating with local artists. Festival regular Nadira Farid also returns, while the Clarence Jazz Hothouse will present new work

by Spike Mason with Louise Denson, Sasha Gavlek, Stevie McEntee, Erin Sherlock and Konrad Park, to mark the 60th anniversary of John Coltrane’s A Love Supreme. This year’s event features 38 acts, including Charlie Needs Braces, Squid Nebula, Allysha Joy, Matt McMahon and Phil Slater.

JA Z Z M E I A H O RN

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AWA R D S AIR INDE P E NDE NT M US IC AWA RDS

C H E RYL D U RO N G P I S I T KU L P H OTO BY RI C K C L I F FO R D

At the 2024 AIR Awards, held in August at Adelaide’s Queens Theatre, Elixir was awarded Best Independent Jazz Album or EP for A Small Shy Truth (ABC Music). This is their fourth studio album and is based on the poetry of Melbourne poet and National Living Treasure, Michael Leunig, featuring compositions by all three members – Zac Hurren, Benjamin Hauptmann and Katie Noonan.

ART M US IC AWARDS At the 2024 APRA AMCOS and Australian Music Centre co-presented Art Music Awards, held in August at Melbourne’s Malthouse Theatre, jazz-related honors included Cheryl Durongpisitkul winning Jazz Work of the Year for A Pinky Promise, performed by the Monash Art Ensemble, and the duo of Mindy Meng Wang and Paul Grabowsky AO receiving Performance of the Year in Jazz/Improvised Music for their collaborative work Spring, Flower, Snow and the Moon. Other notable winners involved in improvisational music included ZÖJ for Excellence in Experimental Practice, and both Duré Dara and Gemma Farrell receiving State Luminary Awards for their sustained and impactful contributions.

CLARE NCE JAZZ FEST IVAL SCHOLARS HIPS M I N DY M E N G WA N G A N D PAU L G RA B OWS KY AO

D U RÉ DA RA P H OTO BY DA R RE N G I L L

Clarence City Council has announced the recipients of this year’s coveted Clarence Jazz Festival Scholarships and this year for the first time, four new scholarships have been awarded. The scholars, all in their final year of college, were selected from a strong field of candidates for the 15th iteration of the annual Scholarship Program, an integral component of the annual Clarence Jazz Festival and represents the council’s significant investment in emerging jazz musicians. The 2025 recipients are: Orlaith Badger (trumpet, Elizabeth College), Xavier Stanford (drums, Rosny College), Jamie Walton (vocals, Hobart College) and Ruben Beretta-Grande (guitar, Elizabeth College).

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C O M A JAZZ W RI TER AWA RD

M WIJF C OM POS IT ION AWARD

Ciara Ferguson has been announced as the 2024 recipient of the Emerging Jazz Writer’s Award (EJWA). A pianist, composer, singer and educator based in Adelaide, Ferguson plans to use the award to develop an EP of choral jazz music. The EJWA recognises emerging leaders in contemporary jazz composition and performance who are female, non-binary or gender diverse. As part of the award, Ferguson will receive two days of recording time at Wizard Tone Studios, mentorship from leading jazz artists, a paid performance with Creative Original Music Adelaide (COMA) and career guidance.

MWIJF in conjunction with the University of Melbourne MCM/VCA are offering a new Composition Award, with the winner receiving a cash prize of $1250 and a performance in the following year’s festival. Open to female and non-binary identifying Melbournebased musicians aged 25 and under at the closing date of 1 December. The inaugural award recipient will be announced at the closing evening of this year’s festival.

F I RST N AT I O NS A RTI ST RES I D EN CY Presented in a partnership between Melbourne International Jazz Festival (MIJF) and the Australian Art Orchestra (AAO), the First Nations Artist in Residency Program is an artistic professional development initiative that supports the career development of an emerging to mid-career First Nations musician with a practice in jazz, improvisation, singer-songwriter music, hip-hop, soul or contemporary art music and its composition.

The 2024/25 resident is Adam Manning, born on Awabakal/Worimi Country, and with Kamilaroi kinship. A musician, artist, designer, producer and researcher at the University of Newcastle, NSW, Manning has collaborated with artists such Keith Carlock, John Paul Young, James Morrison and Ensemble Offspring. The residency includes a cash bursary, a MIJF presentation in 2025 an invitation to participate in the AAO’s annual Creative Music Intensive.

G E N E RAT I O N S I N JAZZ SC H O LA RS H I PS In May at Generations in Jazz (GIJ) held in Mt Gambier, South Australian guitarist Kallan Francis won the James Morrison Jazz Scholarship and Victorian vocalist Ava McDermott won the GIJ Vocal Scholarship, both worth $10,000 each. The 2025 James Morrison Jazz Scholarship and GIJ Vocal Scholarship will be open for registrations from the end of November 2024.

NAT IONAL JAZZ AWARD Presented as part of the Wangaratta Festival of Jazz & Blues, the saxophonists performing in the final for the 2024 National Jazz Awards are Michael Avgenicos, Jayden Blockley, Oscar Bruten, Stephen Byth, Ben Lerner, Tessie Overmyer. This year’s judges, Angela Davis, John Mackey and Julien Wilson noted: “The standard of applications was incredibly high, and it was no mean task narrowing it down to just six finalists. We could have easily selected many more and still maintained the exceptionally high and exciting standard. It was especially rewarding to hear such a wide variety of Australian compositions featured in these recordings and to see that so many of the finalists are well below the cutoff age of 36.

The future of Australian jazz is in good hands.”

The finalists will battle it out on November 2, in front of a stellar rhythm section with Mark Fitzgibbon on piano, Ben Robertson on bass and Danny Fischer on drums.

FRE E DMAN FE LLOWS HIP TO RETURN IN 2025 After 24 years managing the prestigious Freedman Music Fellowships, Dick Letts AM has announced his retirement from the role. The Fellowships, which have supported classical and jazz artists since 2001, will take a break in 2024 but will return in 2025.

Letts, who will remain in an advisory capacity, reflects on his decision: “The Fellowships are very dear to me … but it’s time to pass on the baton.” Laurence Freedman, who established the Fellowship with his wife Kathy, praised Letts for his dedication and announced Paul Mason, former Director of Music at the then Australia Council, will take over in 2025. Further information will be announced early next year.

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JAZZ IN THE NORTH 2024 This year at the end of April, Dingo’s International Jazz Day celebration under the banner of Jazz in the North, was staged at Welcome to Brunswick. Spirited performances were presented throughout the day by artists including Merri-bek City Band Phoenix Project led by Ben Gillespie, The Whoopee Project Xpanded!, The Mouth featuring Ray Pereira and Julien Wilson, and Stella Anning.

The Melbourne Conservatorium of Music’s Jazz and Improvisation ensembles showcased the high quality of emerging talent coming through, including Conjuress with Andrea Keller, Hylife with Jordan Murray and bassist Nama Rangachari’s trio.

Another highlight was Mark Morand’s 32 Bars’ video recording of “Catapult” as the 18th song in their epic project to record 32 original songs in 32 bars, which was recently released.

Our thanks to all our event partners and supporters that made Jazz in the North possible: The University of Melbourne, Melbourne Jazz Co-operative, Welcome to Brunswick, The Music Place and Red Rock Drums Australia.

G E M M A FA R RE L L

T H E M O U T H F E AT U RI N G RAY P E RE I RA A N D J U L I E N W I LS O N

N A M A R A N G AC H A R I T R I O

ZÖJ

THE WHOOPEE P ROJ ECT X PA N D E D !

32 BA RS

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P H OTO BY D E P RI M O P H OTO G RA P HY

WO RDS CAL BARRY

T HE WEST ERN AUSTRALIA JAZZ PROJECT

PROFILE

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“ WE WA NTED TO H AVE A VEH ICL E BY W H ICH WE C OUL D EL EVATE JAZZ AS AN A RTFO RM IN TH E PUBL IC P ERCEPTION ”

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A large jazz ensemble with enough engagements to employ its musicians in a full-time capacit y is a rarit y – or even a dream – in Australia, but it is these lof t y heights that the Western Australian Jazz Project ( WAJ P) is setting its sights . I spoke with trumpeter and managing director Adrian Kelly.

“Our motivation [to form WAJP] stems from our experiences as young jazz musicians just entering the scene back in the 1990s. Back then, Perth had two standout large jazz ensembles; JazzWest comprised of many of the lecturers at WAAPA, and the Perth Jazz Orchestra comprised of many of the local session players. These ensembles became a kind of proving ground, and a place where the more experienced musicians would mentor us younger players and help prepare us for careers as jazz musicians beyond what the tertiary education system and youth bands could offer. Unfortunately, these ensembles no longer operated, for a variety of reasons, and so we saw a need for something along these lines in the WA jazz scene.” This lack of opportunity for the next generation of jazz musicians is not unique to WA and has come up in conversation with artists across the country. In Melbourne, Toshi Clinch Production’s Not-So-Big Band program also looks to address this, giving opportunities for young artists to perform in a structured program alongside established artists.

With all the members of the WAJP active in education – collectively teaching instrumental, composition, classroom music, and directing ensembles across primary, secondary and tertiary education – it’s easy to see how this has shaped the direction of the ensemble. Kelly explains, “When we started the group, our focus was firmly on building the performance side of things, but education has always been on the agenda. We kicked off our education programme by offering pre-concert talks aimed at secondary students before our main concert events where we discussed the specifics of the repertoire being performed, along with general discussions of jazz and big band music and how that all aligns with the courses of study the students may be engaged in. We have also included a ‘demystifying the big band’ talk in some of our more informal performances, where we break down a big band chart and provide a little insight to audiences about how a big band works and what to listen out for.” It is these endeavours that can help kindle a spark in the next generation of potential artists and open another potential revenue stream to help support the ensemble.

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The ensemble is looking to capitalise on the new upper school curriculum, that requires every music student covers a jazz component within their course, by “creating supplementary materials aimed at both students and teachers to aid in the teaching of jazz in schools, concert events aimed specifically at school students, and a series of short videos/reels ‘pulling back the curtain’ on various aspects of jazz and big band music.” These elements of the education programme are expected to launch in late 2024/early 2025.

Just as many of the greats cut their teeth on the bandstand playing, interacting and learning from their idols, a “regular jam session curated and hosted by the WAJP is also on the cards, enabling younger players a safe space to play and share the stage with some of the more established musicians in Perth.”

While the initial membership of WAJP is composed of established players with a long history of performing together, when they need extra players or need to deputise a position, they “have looked to the younger players in town – recent graduates or current jazz students. This has worked well, giving us the opportunity to engage with and mentor the next generation of WA jazz musicians.”

Mentorship wasn’t the only driving factor for WAJP though: “Alongside this we wanted to have a vehicle by which we could elevate jazz as an artform in the public perception. By having a professional ensemble setting a benchmark for not only performance quality, but conditions and expectations, we hope to create a situation of ‘a rising tide lifts all ships’. A significant part of this goal is to present jazz on concert stages and venues outside of the typical jazz club (though we love performing in jazz clubs too!).”

To this end WAJP has sought to utilise the grand Perth Concert Hall, and while “it’s not always the easiest to find a date at the Perth Concert Hall as it is so in demand, once we have a date booked in the staff there are incredibly helpful, generous with their time and skills, and very supportive.” This venue has been a central part of their plan to broaden the jazz audience in WA and, as reviewer Kristian Borring noted after their inaugural A Very Jazzy Christmas show in 2021, “Judging from the 800-strong, supportive audience it seems there is a healthy appetite in WA to support this goal.”

Repertoire can play a huge part in engaging an audience, particularly when seeking to bring in people new to jazz. The band has tackled a wide and eclectic range of musical content from classic Ellington big band, to movie themes, to a comiccon show. Kelly explains, “We always try to find a balance that gives audiences a rewarding experience whether they are new to the jazz art form or long-time aficionados of the genre. Alongside that we also want the band to feel enriched from performing the music we present. To this end, we use, almost exclusively, new arrangements by local Western Australians that can present familiar material in new ways, be that a jazz standard like ‘Seven Steps to Heaven’ or the ‘Theme from Batman’. No matter what the source material is though, jazz is always front and centre featuring some of our outstanding jazz improvisers and writers.

“As we work up to a performance event we start around six months out, sketching out the format of the concert in conjunction with any featured soloists etc., and finding and contracting arrangers/composers. We usually kick off marketing around three months out, around which time we check in with our arrangers and start tightening up the setlist and show format. Rehearsals usually happen in the week of the performance. Once the gig is concluded we usually check in with the creative team and make notes on what was successful and what could be improved, to help us in future programming and execution of concerts.”

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In working in this way, WAJP has curated a number of exciting concerts, or perhaps experiences is a better descriptor for what the audience gets. “I think the concert of Miles Davis’s music has been a highlight. The concert hit all our targets, the audience loved it and the band was firing on all cylinders! We presented new arrangements of Miles’s music by WA composers, alongside a narrator reading excerpts from interviews and biographies that framed the music. We even had a couple of Ferrari’s like the ones Miles used to drive, parked in the Perth Concert Hall foyer! I think contextualising the music in these ways helps audiences engage with what can sometimes be a confronting and difficult genre.”

While admirable to shoot for being Australia’s first full-time large jazz ensemble, it is worth asking, is this even something that is possible and sustainable given Australia’s demographic? As government funding for the arts becomes increasingly competitive and unreliable across the country, requiring it makes planning and long-term viability challenging – all things necessary for professionals to have the security to commit to a full-time position. “We would love to see the kind of philanthropy found in the US and other locales to reach Australia, but that is only slowly beginning to happen. Until then, government support is essential for not only performing ensembles but maintaining and developing venues for the arts,” states Kelly.

WAJP is certainly setting itself up for the long haul: “We obtained support for the formation of the group from the WA state government, which allowed us to set up the legal structures, put into place good business practices, set up the website and other marketing materials, and launch the band with a press launch and concert.”

There are a wide range of structures that arts organisations – and I think it’s fair to describe WAJP as this rather than simply an ensemble – utilise, each with benefits and downsides. Perhaps unusually, the WAJP settled on a proprietary limited company structure with Adrian Kelly filling the role of managing director, joined by saxophonist Melissa Skinner in the role of director and education officer, and all founding members being shareholders. “Our motivation for using a Pty Ltd was to give ownership to the founding members of the ensemble, allowing everyone to feel a part in the project and

“AUD I E N C ES CA N REAL LY FEEL TH E C O M RA D E RY, AND WE’ VE BEEN P LAYING TO G ET H E R FOR SO LO NG TH AT IT ALWAYS F E E LS L I K E C O MING H O ME WH EN WE G ET O N STAGE TOG ETH ER.”

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have a voice in how we do things. It also had advantages on the record keeping side of things, and with the Australian Cultural Fund still enabling tax-free donations to the group despite our status as a Pty Ltd company, the downsides are minimal.”

Many of the members of WAJP have a long history together, stretching back to university days, and in some cases high school. These genuine friendships amongst band members translates to the stage. “I think this closeness is one of the reasons the ensemble performances are so special.

Audiences can really feel the comradery, and we’ve been playing together for so long that it always feels like coming home when we get on stage together.” While friends don’t always make the best business partners, fortunately in this case the “friendship amongst members has also been a boon in steering the ship, we can have open discussions about the direction the ensemble is taking and planning a concert, or education programme, etc., pulls together a wealth of expertise from across the ensemble.”

After the initial government support, WAJP now makes the most of its “advantage of being a (relatively) small outfit and can survive mostly on ticket sales to our concert events, subcontracting the band for corporate events, and the generous support of our donors.” But this is hardly a secure income stream and means with each proposed concert program potential ticket sale returns must be considered. While the subcontracting of smaller ensembles for corporate work is a key part of the ongoing business plan, looking to the next five years Kelly posits, “Ideally, we would have secured long-term funding (be it philanthropy, corporate sponsorship or government funding) that allows us to present a regular series of concerts in a newly refurbished Perth Concert Hall.”

The Western Australian Jazz Project embodies a bold vision for the future of jazz in Australia. The challenges faced, such as securing sustainable funding and navigating the complexities of the arts landscape, reflect broader issues within the Australian cultural sector. As WAJP moves forward, its continued success will hinge on balancing artistic excellence with financial sustainability, all while nurturing a new generation of jazz enthusiasts. Hopefully by integrating education with performance and direct educational outreach with diverse concert programming, they can continue to elevate jazz both as an art form and as a staple of cultural life in Western Australia.

“Ten years out, we are looking to interstate and international touring … stay tuned!”

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WE KNOW TH AT THE JAZZ C O MMUNIT Y, L IK E TH E MUSIC ITSEL F, IS A BOUT C O MMUNICATIO N , C O L LABO RATIO N, A ND BOUNDL ES S CREATIVIT Y.

ALL THE THINGS WE ARE JAZZ C OLLECTIVES I N AUSTRAL IA WO RDS ADAM SI MMON S

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Australia’s creative music scene, particularly jazz and improvised music, is a vibrant and evolving landscape. At the heart of this ecosystem are the presenting organisations and artist collectives that have long provided the foundational support necessar y for artists to thrive. These entities, ranging from well- established institutions like the Melbourne Jazz Co operative and S ydney Improvised M usic Association to grassroots initiatives like the Make It Up Club and Made Now M usic, do far more than just organise gigs .

They are the lifeblood of the scene, of fering platforms for experimentation , validation and communit y building – all the things that artists and audiences alike hold dear.

The importance of these organisations cannot be overstated, yet they often operate under the radar, with little recognition of the critical role they play.

Much like the refrain of a cherished jazz standard, these organisations quietly underpin the scene, allowing it to flourish in ways that are both seen and unseen.

This article explores the history, impact and challenges of these organisations, highlighting their invaluable contributions to Australia’s cultural landscape.

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MAKE IT UP CLUB F I T Z R OY / WURUNDJERI LAND Non-profit/informal organisation

Years of operation: 26 Team: Annalee Koernig (Curator), Kavil Patel (Curator), Hilary Hutchinson (Curator) Mission: The Make It Up Club (MIUC) is committed to nurturing, presenting and promoting avantgarde improvised music and sound performance.

Inspiration: It began its life in February 1998, set up by Will Guthrie and Ren Walters to provide regular performance opportunities for experimental improvisers at a time when such opportunities did not really exist in any stable form in Melbourne. MIUC offered a space for improvising musicians whose practice transcended the prevailing trends in modern jazz, contemporary classical and experimental rock and electronic music.

What is jazz/improvised music?: Both are modes of listening and connection. At MIUC, we are very lucky to be supported by a community of dedicated listeners, where our audience is as pivotal to the improvisation as the maker of the sound.

Current funding status: Yes – City of Yarra Get involved: We are at Bar Open every Tuesday, with doors opening at 7:30pm. Otherwise, email is good too – makeitupclub@gmail.com.

Upcoming highlights: We are collaborating with and co-curating the Emerging Writers’ Festival in September. @makeitupclub P H OTO BY M ASTA N E H N A Z A R I A N

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Background The roots of Australia’s current jazz and improvised music scene can be traced back to the mid-20th century, with the emergence of key figures like Graeme Bell, Frank Smith and Brian Brown, who helped establish a distinct Australian jazz identity. As the scene evolved, so too did the need for dedicated spaces where this music could flourish. Enter organisations like the Melbourne Jazz Co-operative (MJC), founded in 1982, which has since become a cornerstone of the Australian jazz scene.

MJC’s mission has always been to promote original and contemporary jazz, providing a platform for both emerging and established artists. Over the years, it has helped launch the careers of countless musicians.

Similarly, Sydney Improvised Music Association (SIMA), established in 1984, has been instrumental in fostering Sydney’s jazz scene, offering regular performance opportunities and educational initiatives. These organisations have not only supported individual artists but have also contributed to the development of a broader cultural movement that celebrates creative music in all its forms.

In my own development as a young artist, both organisations were key in helping me establish a foothold in the Australian jazz scene. In Melbourne, it was only through MJC and the Melbourne Improvisers Association – now defunct, a precursor of the Make It Up Club (MIUC) – that I was able to secure a gig at Bennetts Lane Jazz Club. Similarly, my introduction to Sydney came through SIMA, where I had the fortune to perform with The Engine Room. The opportunity, visibility and validation provided by these experiences cannot be overstated for an emerging artist.

A personal perspective My journey through Australia’s creative music scene has been deeply intertwined with these presenting organisations beyond performing. As a teenager, I first became involved with the Ballarat Recreational Arts Team, coordinated through The Push, a youth music and arts initiative based in Victoria. This early experience taught me the importance of community support in fostering creative expression. Later, my involvement with the Melbourne Improvisers Association and the formative Improvised Tuesdays – an initiative of Will Guthrie, Ren Walters, Ronny Ferella and myself – eventually evolved into the MIUC, further deepening my connections within the scene.

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JOHNSTON STREET JAZZ ANNANDALE / GADIGAL LAND Non-profit

Years of operation: 25 Team: Sound team: Ashley Asphodel, Peter McCracken, Perce Woodbury, Peter Nelson. Everyone else: Keiran Hogan, @sonicsydney, Stephen Poole, Andrew Lorien.

Mission: We are a non-profit artist-run church-hall gig, presenting acoustic, improvised and instrumental jazz every Thursday (well, any two of those will do).

Inspiration: At the end of last century, saxophonist Spike Mason performed an acoustic concert in the round in a ruined church in Turkey. “Sydney doesn’t have any gigs like this,” he thought. After 25 years, two name changes and a venue change, here we still are.

What is jazz/improvised music?: We know that everyone has jazz in their hearts. We know that the jazz community, like the music itself, is about communication, collaboration and boundless creativity. We love being part of the scene and part of the music.

Current funding status: No – apart from a single COVID-19 grant, never.

Get involved: We’re always happy for new volunteers – pushing the chairs, welcoming at the door, running the live-stream, cooking the BBQ at the jazz fest.

Upcoming highlights: The second Inner West Jazz Fest is over a weekend in mid-October 2024, hopefully the third will be the following year. @JohnstonStreetJazz DA RYL A B E R H A RT ( A B OV E ) P H OTO BY @ S O N I C SYD N EY

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@johnstonstreetjazz

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CREATIVE ORIGINAL MUSIC ADELAIDE T H E BA RTO N / K A U R N A Y E R TA L A N D Non-profit

Years of operation: 19 Team: Keira Simmons (Chairperson), Sam Cagney (Treasurer), Emily Tulloch (Funding Director), Maeve McLoughlin (Social Media Coordinator), Bonnie Aue (Graphic Design), Ciara Ferguson, Jasmine Hall, Max Grynchuk, Bailey Hall, Peter Mitchell, Alex Taylor and Jackie Wilde (General Operations), Annie Siegmann (Administration Officer) Mission: Creative Original Music Adelaide (COMA) supports, develops and celebrates artists; cultivates and benefits audiences; and challenges and enriches South Australia’s creative music sector.

Inspiration: COMA was founded in 2005 by a committee of artists who wanted to bring jazz and improvised music into the inclusive and relaxed environment of the Wheatsheaf Hotel, at a time when it was unusual to hear jazz in a pub. In a comfortable setting, audiences could easily access creative music and artists could be free to perform experimental work for a supportive crowd.

What is jazz/improvised music?: For COMA, jazz and improvised music are about freedom, experimentation and communication in a shared environment. COMA has worked hard over our 19 years to cultivate a highly receptive, open and supportive community, who arrive at Monday gigs with an attitude of curiosity for that evening’s lineup. This creates an environment in which artists feel supported and free to explore new sounds and ideas, secure in their connection to the audience facilitated by COMA. Current funding status: Arts SA – Government of South Australia Get involved: The best way to get involved with COMA is to attend our regular gigs, every second Monday at the Wheatsheaf Hotel. Otherwise, check out our livestreams and explore our extensive back catalogue of recordings on Bandcamp. For artists, please apply for a gig via our seasonal submission form or apply for a specific program like Emerging Artists, Audio Mentorship or Sound Alliance. You can also show your ongoing support (and get discounted tickets) by purchasing an annual membership.

Upcoming highlights: In September, COMA will be launching our jam-packed Spring season, which will include a full season of creative original gigs. Highlights will include a performance by our 2024 Featured Composer Sebastian Collen and our annual Benefit Night, which showcases new works by a range of local composers. www.coma.net.au

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@comadelaide

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@creativeoriginalmusicadelaide

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Serving as the bookkeeper for the MJC for several years provided me with a behind-the-scenes look at the financial and organisational challenges that these groups face. One of the more surprising lessons I learned was that success was never guaranteed, regardless of an artist’s popularity or profile. There were times when a younger or emerging artist might draw larger audiences than a more established name, and even when a night was successful, it offered no assurance for the next time.

The reality was that, too often, revenue from ticket sales barely covered costs, if at all.

This made it abundantly clear that external funding was not just helpful but vital for the sustainability of these organisations.

These roles were integral to my growth as an artist, a bandleader, a curator and an advocate for creative music. My experiences underscore the value of community involvement at all levels, from volunteering to attending gigs, as a means of sustaining and enriching the scene.

Pathways and platforms In the creative music scene, presenting organisations play a crucial role in providing the platforms and support that artists need to be seen, heard and validated. Unlike mainstream music artists who might gradually progress from indie venues to larger stages, creative music artists often rely on these organisations for visibility and recognition.

These platforms are often the first step in an artist’s journey towards broader recognition, including major festival appearances and international opportunities.

For example, the MIUC, Melbourne’s experimental music focal point, has been the launching pad for numerous artists, alongside international acts. These organisations not only support local talent but also play a critical role in connecting touring artists with local audiences, fostering cultural exchange and allowing global influences to enrich the local scene. Similarly, Creative Original Music Adelaide (COMA) provides a vital space for local artists to experiment and develop their craft, often leading to opportunities beyond the local scene.

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A personal instance comes from when I was a member of Kynan Robinson’s En Rusk and our performance at Bennetts Lane Jazz Club – presented by the MJC – was seen by Adrian Jackson, then Artistic Director of the Wangaratta Festival of Jazz & Blues. On the strength of that performance, we were invited to perform at the next festival. In other music scenes, it might be expected that one progresses through a series of levels or venue sizes before reaching prominent festivals. However, one advantage of the jazz scene, being small yet highly interconnected, is that such opportunities can arise more quickly, allowing artists to reach significant opportunities without the lengthy process typically seen in larger, more segmented music industries.

In this way, presenting organisations are not just supporters – they are catalysts, creating the conditions that allow artists to flourish. By offering platforms that validate and elevate artistic expression, they play an essential role in ensuring that the creative music scene remains dynamic and inclusive, enabling innovation to thrive and artists to continue pushing the boundaries of their craft.

Funding the scene One of the most critical, yet often overlooked, aspects of these presenting organisations is their role in supporting venues by subsidising costs and mitigating financial risks. While their support for artists through performance fees is well known, these organisations also play a vital role in ensuring venues can continue to host creative music events. Despite operating on tight budgets, organisations like MJC and SIMA not only pay performers but also cover venue expenses, providing a safety net that has sustained venues such as Strawberry Hills Hotel, Bennetts Lane Jazz Club, Side On Cafe, Uptown Jazz Cafe and The Jazzlab.

However, securing funding is a constant challenge. While two Australian jazz organisations – Melbourne International Jazz Festival and Australian Art Orchestra – receive substantial multi-year support, our regular presenting organisations increasingly struggle to make their case in a competitive funding landscape. Despite the relatively small amounts they request, the impact of this funding is profound, helping to sustain an entire ecosystem of creative expression.

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MADE NOW MUSIC BRISBANE / TURRBAL LAND Non-profit/informal organisation

Years of operation: 7 Team: Brodie McAllister (founder, designer, curator, hype-person), Catalynne McAllister (socials, press, undying source of love and energy) Mission: Made Now Music aims to foster a community of artists dedicated to creating quality music that embodies honesty and heart.

Inspiration: The beautiful musicians in the community at the time of founding – there were so many voices (who are now recognised as some of Australia’s most innovative creatives) within the Meanjin community at that time, making super interesting music and nowhere to present it. I was trying to start a concert series, Caleb Colledge was aiming to start a label, and we came together to make both happen in the spirit of artists supporting artists. Community is the most valuable thing we’ve got.

What is jazz/improvised music?: It’s music that connects people, always has been. It’s music that allows space for your spirit to be expressed and for the community to be a part of that journey with you. It’s party music, it’s listening music, it’s music for the people. It means the world to be able to come together with strangers and connect over a shared (or discovered) language – not all music allows this space and it’s important to celebrate this.

Current funding status: Self-funded Get involved: Come out to shows, listen to the music, celebrate the work these artists are putting out and become infatuated with music and coming together. Nothing beats a room full of people sharing in an experience together. Our main lines of comms are our Instagram and our mailing list (refer to website). Stay in touch and let me know what you want for that evening when you’re coming out of the house – we’ll make it happen.

Upcoming highlights: We’ve got a ramp-up towards the end of the year with the September release of Strange Attractors by Jess Green and Dylan Van Der Schyff and also another fabulous duo, The Handsomest Men in the World featuring Daniel Waddingham and Andrew Saragossi. We’re also working on a bigger project for the summer – that’ll be an in-person event – more to come. www.madenowmusic.com

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@madenowmusic

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@madenowmusic

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M J C O RC H EST RA P H OTO BY RO G E R M I TC H E L L

MELBOURNE JAZZ COOPERATIVE BRUNSWICK / WURUNDJERI WO I -W U R RU N G L A N D Non-profit

Years of operation: 42 Team: Martin Jackson (Artistic Director/Manager), Tony Gould AM (Chair), Andrew Pogson (Treasurer), Flora Carbo, Travis Woods and Dr. Rob Burke Mission: To promote, present and advocate for quality Australian contemporary jazz, continuing to nurture the next generation of improvisers and listeners.

Inspiration: Total lack of presenters and venues for contemporary jazz in Melbourne in the early 1980s.

What is jazz/improvised music?: To me, creative jazz is something created “in the moment” through the democratic and spontaneous interaction between highly-skilled musicians with individual “voices”. It can produce inspiring peaks of passion, beauty and spontaneous composition.

Each member would have their own definition.

Current funding status: Self-funded Get involved: Associate Membership of the MJC is open to musicians and listeners, starting from $10.

Upcoming highlights: Founding the Melbourne Women’s International Jazz Festival in 1997, the MJC has always co-presented several concerts in the program each December. www.mjc.org.au

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@melbjazzcoop

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I NS PI RI NG P EA KS O F PAS S I O N , BEAUT Y A ND S PO N TA N EOUS C OM POS I T I O N .

SIMA SYD N EY / GA D I GA L Non-profit

Years of operation: 40 Team: Zoe Hauptmann (Artistic Director), David Reglar (Acting GM, Program Assistant), Alex Masso (President) Mission: We are SIMA and we are all about presenting the most exciting, diverse and unique Australian jazz.

Inspiration: We believe it’s time jazz was heard in more places and by more Australians, as it deserves to be loved and recognised. That’s what we are about. We’re for people who are turned on by new sounds, by the magic of improvisation and by hearing established and new talent. We’re for people who are up for a musical adventure.

What is jazz/improvised music?: Jazz is rich. It’s fun. It’s thrilling and diverse. It’s all about reveling in the unexpected and it can be reassuringly wild.

Current funding status: City of Sydney, Creative Australia, Anthony and Sharon Lee Foundation Get involved: Come to our shows, sign up to the newsletter or become a member.

Upcoming highlights: Sydney International Women’s Jazz Festival will be in venues around Sydney, 24 October until 3 November. www.sima.org.au @SIMA.Jazz

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@sydneyimprovisedmusicassoc

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SMALL SPACE MUSIC BRUNSWICK / WURUNDJERI WO I -W U R RU N G L A N D Volunteer

Years of operation: 8 Team: Small Space Music (SSM) is an amorphous organisation.

Directed by Ronny Ferella, with an ecosystem of musiciansvenue operators-listeners for it to actually be something.

Mission: SSM exists to connect curious listeners to the community of creative music makers and spaces operating in Melbourne’s inner north.

Inspiration: Roughly 10 years ago, I [Ronny Ferella] was starting to notice that the environment and opportunity for the presentation of new creative music was shrinking. The burgeoning digital movement at the time changed the way things were done and new ways were not really geared up for “outsider” music. I created SSM to help push against algorithmic-driven choice options and to champion musical diversity in the community.

What is jazz/improvised music?: It means what each one of us needs it to mean. It’s a form of expression that wants a listener for it to be fully realised. For me, jazz and improvised music connects to the idea of magic – trying to communicate what we don’t fully understand, yet we know it when we come across it.

Current funding status: Self-funded Get involved: If you go to our website, you can check out the gig guide anytime or send us a message if you want to put on an event or anything. It’s a very open forum. Get involved by getting involved.

Upcoming highlights: SSM is currently working towards creating a venue collective. This will bring together venues who share a “music and musicians first” ideology. This collective will aim to work together to cross promote all the music being presented by the collective. Look out for a summer festival involving all the venues. www.smallspacemusic.com

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@smallspacemusic

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Martin Jackson, MJC Artistic Director, highlights this struggle: “The current policies of both Creative Australia and Creative Victoria do not seem to recognise the important role of smaller presenter organisations in the arts ecology, instead providing support for individual artists, or festivals and major companies. The MJC generates opportunities for a large number of ensembles annually, presenting a significant amount of Australian ‘art music’, which does not seem to be valued in the current parameters.”

Indeed, the MJC has been unsuccessful with multiple applications to both Creative Australia and Creative Victoria for 2023 and 2024, underscoring the precarious position many smaller organisations find themselves in. While Creative Australia recognises the importance of small to medium arts organisations in the sector, many of these organisations continue to operate on the brink of financial viability, relying on a combination of grants, donations and ticket sales to survive. With success rates generally ranging from as low as 5% to 20%, and a recent Creative Victoria round seeing a 100% increase in the number of applicants, it highlights the hyper-competitive nature of arts funding, further exacerbating these challenges. There’s also evidence of a trend towards more project-based funding, as opposed to ongoing operational support, making it increasingly difficult for organisations to plan and sustain long-term initiatives.

Call for support The work of these presenting organisations is invaluable, but it cannot be sustained without greater recognition and support. As the arts sector faces increasing financial pressures, it is crucial that these organisations receive the funding and resources they need to continue their work. This is not just about supporting individual artists – it’s about sustaining a cultural ecosystem that enriches our society as a whole.

Greater advocacy and direct action are needed to ensure that these organisations can continue to operate. This includes pushing for more equitable funding models that recognise the unique challenges faced by small to medium arts organisations, as well as encouraging public and private investment in the arts. However, the most effective way to support these organisations is by participating in their activities – attending their gigs is essential, as regular attendance not only contributes to their sustainability but also directly helps fulfil their purpose of nurturing and showcasing creative talent.

If you’re unable to attend events regularly, consider becoming a member, making a donation or advocating for these organisations to your local representatives.

Helping promote events, whether through social media or word of mouth, can also make a significant difference. Additionally, reaching out directly to an organisation to ask what specific support they require is an excellent way to contribute. Every bit of support – whether financial, through active participation, or by spreading the word – helps ensure that these vital cultural institutions continue to thrive.

Conclusion Australia’s presenting organisations of jazz and improvised music are more than just platforms for performance – they are the oft-unsung heroes of the creative music scene. By providing opportunities, validation and financial support, they sustain and nurture the artists who define our cultural landscape. As we look to the future, it is imperative that these organisations receive the recognition and support they deserve.

Supporting these organisations is not just about preserving the past – it’s about investing in the future of Australia’s cultural identity. In doing so, we honour all the things they are – the pillars of a vibrant, diverse and ever-evolving creative music ecosystem, ensuring that the music will continue to resonate for generations to come.

LESSONS FROM THE JOURNEY INDEPENDENTLY RELEASING IMPROVISED MUSIC WO RDS BARNEY MCALL

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“I F YOU ’ RE S ELL ING A LOT O F ALBU M S, YOU ’RE D OI NG SO M ETH IN G WRONG” BARRY HARRIS

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EV E RYT HI N G I H AVE L EA RN E D A BOUT I NDE P E N DE N T LY RE L EAS IN G IM P ROVI S E D M US IC I have made 25 albums, most of which I have self-released. I’ve learned a lot along the way about releasing music and I’m sharing that knowledge here.

In 2015, for my Mooroolbark album, I decided to see what would happen if I did something small each day towards its release for a whole year – sending emails, managing social media and reaching out to all manner of media contacts. Mooroolbark ended up winning multiple awards.

You can hire a publicist, but it can be expensive and often ineffective. A combination of hiring a publicist and doing the tasks outlined below can work well. Even if you have a record company handling promotion, adding some of the things I suggest below can still be valuable.

The self-release process is time-consuming and arduous but can be very fulfilling. I suggest planning carefully and working just a little each day. Don’t get burnt out.

Most importantly, your album doesn’t need to be the Grammy winner. Focus on making the best music you can and see each release as one painting in a body of work that is your creative life. Every album will strengthen your overall contribution. With around 60,000 songs uploaded online daily, making your music truly great is crucial.

P RE-P RODUCTIO N : L I ST E NI N G AN D FI N A L IS I N G T H E M US IC After recording, listen to draft mixes on various headphones, sound systems and especially in your car. Experiment with your album flow by putting tracks into iTunes and listening to various sequences. It’s fun!

Listen to your album with people you trust. I find this means I listen to the music “through them”, i.e., you can somehow feel them listening and responding emotionally, and you learn a lot about possible edits/mix ideas/track listing, etc.

Once you’ve locked in your tracklist and song order, it’s time to have the tracks professionally mastered. If you’re pressing vinyl, be sure to let them know since the process is different. For vinyl, aim for a total runtime of 45 minutes or less, but if it’s for CD, you’ve got more room to work with.

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PROM O AS SETS YOU MUST HAVE READY TO GO Creative press pics Jazz promo shots are often uninspired, which is surprising given how important they are. This is your opportunity to elevate your image. Photos are the first thing people see and they’ll often judge your album based on the visuals before even hearing it. Your photos should reflect the feeling of your new music. Make sure your photographer listens to the new material, so the images align with the album. There are many ways to skin this cat, so get creative.

New blurb Your blurb is your story, and next to your music, it’s the most important part of your release. It should explain why people should care about your album – what makes your story and vision unique? Craft your blurb carefully, as many outlets will use it as is.

Tip: I had a friend interview me and then I crafted my blurb from what I said.

Album artwork Canva is a free and excellent online tool for creating album art, social media graphics, flyers, videos and more. It offers templates with specific sizes and attributes, making it easy to look professional. I’ve used Canva for my last four album covers and all my social media graphics – it’s straightforward and effective.

Tip: Create 10 rapid-fire album covers in a “finger painting jazz improvisation” style, then come back to them and see if any stand out.

Links to your album Most media contacts prefer not to download anything, so you’ll need private links to your album to send to them. I use SoundCloud, but alternatives include Bandcamp Pro and Disco. Make sure to add your artwork, detailed credits and a short blurb to your SoundCloud album page for a comprehensive overview.

Tip: Before you send your unreleased album out to the media, ensure the link you provide is a Private Link (triple-check this). After the album is released, you can make it public.

Onesheet This is a single page where all pertinent information for your album is available in a concise PDF. For reference, here is the onesheet for my anti-pop album Global Intimacy www.dingojazz.com/McAllExtra

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Press release Your album’s press release should include: A headline with the album title and artist name The release date when the album will be available An album overview describing the genre and key themes Highlighted key tracks or singles A short artist bio Relevant quotes from reviews or artist statements Information about upcoming shows or tours, if applicable Streaming or buy links for the album Social media and contact information for the artist or PR

All assets in a bookmarked folder Here’s what you need to have set up and bookmarked for your rollout: 1. Create a “folder of assets” in your cloudbased drive and bookmark it. This folder will contain everything you need, which can be shared with anyone requesting assets. It saves time to have every possible asset request ready and bookmarked.

2. Your asset folder will contain several subfolders: WAV files of every song and a text document with comprehensive album credits (broken down by song) MP3s (320 kbps, metadata tagged) of every song and a text document with comprehensive album credits (broken down by song) A high-res album cover JPEG (at least 3000 pixels x 3000 pixels) High-res promo photos (no larger than 10 MB per image) A press release A spreadsheet of playlists, influencers and press outlets to target Short and long bios (ChatGPT can help you with this)

“IF YOU D O N ’ T OWN YOUR MAST ERS, YOU R MASTER OWN S YOU ”

All your visual elements: full-length music video or video snippets, ads, upcoming social media post ideas – ensure you create specific video/image sizes for social media A separate text document containing all links to shareable assets for quick reference Links to your album or singles Anything else you think you may need

PRINCE

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M A RK ET IN G & D I ST RI BUT IO N Distribution

“JUST GO WITH TRUTH AND BEAUT Y AND FORGET THE REST” BILL EVANS

To get your songs on Spotify, Apple Music, Spotify, Amazon, TikTok and 100+ other DSPs (digital service providers) worldwide, you need a distribution company. There are many distribution companies out there who you can use: DistroKid, TuneCore, CD Baby, UnitedMasters, LANDR. Amuse is a free service.

Press/Mail lists My friend who manages a large band said to me once: “Barney, there are probably about 20 people in Australia who will write about you or do a review and you know them all, so focus on who they are and see what you can do.”

For us improvised music people, I tend to agree with my friend, so slowly collect emails from any people who might support you. You can also scour the net, scour all your emails, ask people in the know and brick by brick, build your press network.

Send out your album info to any outlet you think would respond well to your story and your music, making sure the email is personalised to the writer. This is tedious stuff when you think about just how many people are sending their hopes and dreams to every media gatekeeper, but I still say, “fall seven times, stand up eight” (Japanese proverb).

You want to have album pitch emails out at least a month in advance of your release date with regular follow-ups (every four days or so). I make a spreadsheet that documents by date, anyone I have sent my pitch to and any response I get; this avoids any doubling up.

Spotify for Artists Make sure you verify your Spotify artist profile via the Spotify for Artists website.

Distribute your song at least five weeks before its release. After distribution, it should appear as an upcoming release in your Spotify for Artists dashboard. Use the option to submit your song to playlist editors to ensure it appears in your followers’ Release Radar and other algorithmic playlists.

To succeed, be clear about your long-term strategy: What support and press do you have? What can fans expect from you in the next 6-12 months? How often do you release music? What are your past and upcoming shows? Highlight what makes you stand out. Spotify supports artists who show they are organised and active.

Also, enable Contributions so fans can donate directly to your Spotify profile, with you receiving 100% of the funds.

Note: As a jazz artist in a crowded market, I’ve had limited success with any type of playlisting, but it’s worth trying.

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Videos Full-length music videos as promo tools are dead. People spend all day watching videos on social media, so the key now is short, engaging sizzle reels or teaser clips. But every song you release should have some video content – even just a quick snippet from your phone. Short videos are still crucial for promoting your music.

Tip: Remember to adjust the aspect ratios and dimensions to fit each platform’s requirements. Canva is a great tool to help with that.

Links Linktree is another online tool that lets you house multiple links under one easy-to-share URL. You place your Linktree link in the bio of all your social media profiles, and when people click it, they’ll see a list of options to choose from, such as: Your album promo page Website Bandcamp page Any other key links you want to share

It also helps you direct fans to all your social media platforms in one place, making it a one-stop shop for promoting your music.

Rebrand your socials/website Now that you have new photos, album cover and bio, use these assets to rebrand all your online presence. You are bringing an entirely new package to the world so make it reflect your vision and create a cohesive aesthetic. Closely observe how any major label artist shapes perceptions using colour/unified aesthetic/brand continuity. Check out any Brainfeeder release for reference.

Mailing list/autoresponder If you don’t have a mailing list, start one today – it’s your most valuable fan engagement tool. Platforms like ConvertKit or Mailchimp allow you to send mass emails to thousands of people and use autoresponders to target specific groups. For example, I have a category just for “press and PR”, so I can send them album pre-release downloads, press packages and media-specific details. When I’m ready to announce the album to my whole list, I can send a different email directing everyone to Bandcamp for purchases.

I recommend Derek Sivers’s book Your Music and People. It offers great insights, especially about how all opportunities come from people and how your email list builds connections.

Tip: Double-check all your links work, especially before you do a mass mail out.

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Bandcamp and selling direct Bandcamp is the top platform for independent music sales. The beauty of it?

You manage everything yourself. No distributor is needed and signing up is free.

A strategy I’ve tried that works: 1. Upgrade to a Pro Bandcamp Account This gives you access to some serious tools that help you connect with fans and manage your music more effectively Send targeted messages through the Bandcamp Artist app View where you’re paying fans are located and track the source of each sale Batch upload audio tracks Present videos side-by-side with your music and merch Allow people to stream private tracks or albums Set up a custom domain Track your visitors with Google Analytics Disable streaming on select tracks when you need exclusivity

2. Create a Pre-Order Let fans buy the album well before release day, offering them a few tracks upfront. This builds hype and gives them something to look forward to.

3. Keep It Exclusive Don’t release the album on streaming services for a month or so. Make it a “Bandcamp-only” experience, giving your fans a reason to engage directly with you.

4. Release on Bandcamp Friday Aim for a Bandcamp Friday release (the first Friday of each month), where Bandcamp waives their fees and 100% of sales go to the artist.

5. Move to Streaming Later Once sales slow down and Bandcamp traffic fades, you can then release the album on streaming platforms. This way, you’ve maximised your direct income before handing it over to the streaming giants.

This strategy can help you make the most of your album release and build stronger connections with your audience.

Collecting royalties To collect all your publishing royalties worldwide, you’ll need an admin publishing company (if you don’t have a publishing deal).

I’m with APRA AMCOS, which I’ve found to be a better fit for me compared to ASCAP, which I was with while in the USA. Wikipedia Even all these years later, Wikipedia is still one of the first places people go to get a quick glance at your bio. And it’s almost always top of the list in Google search results. It validates you and helps the internet learn about you. If you don’t have a Wikipedia page yet, there are plenty of people and companies out there you can hire to make you one. You just need a good amount of press under your belt. If you have one already, time to get it updated. Wikipedia doesn’t like when the subject edits their own page (and it can’t read like a promotional bio), so either disguise your editing or ask your network to help with this.

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“ There is a vitalit y, a life force, an energ y, a quickening that is translated through you into action , and because there is only one of you in all of time, this expression is unique. And if you block it, it will never exist through any other medium and it will be lost.”

Martha Graham

Registering your music on AllMusic/Discogs AllMusic is one of the most comprehensive credits databases out there, with Discogs close behind. While some DSPs are starting to show credits, they’re still not fully inclusive. Registering your music on AllMusic and Discogs is key so people can find out who played the crumhorn on track three or who co-wrote track nine, especially since most won’t ever see your physical liner notes.

Conclusion So many people become despondent trying to navigate the music industry, especially those creating art music. But to me, releasing music is critically important to society and to our spiritual health – especially now – and its importance goes way beyond streaming rates, album sales or other external considerations. Music is a spiritual practice, but capitalism wants us to forget that.

There’s so much to learn when you finally release your music. The word “release” is fitting; it allows you to move forward and see where you’re at.

Your music can be a snapshot of your life, it can be your journal, your barometer.

Whatever it is for you, it’s some deep, dark work that needs to be done, and the lighter and more technologically convenient the world becomes, the fewer will grasp its significance. So I say: keep making things, creating and learning who you are through your music. Yes, musicians have been disenfranchised, but we now have easy access to everything once handled by record companies and can empower ourselves to help fix the mess their greed created. So don’t deprive the world of your contribution.

This is a condensed version of Barney McAll’s original Patreon post, “Everything I have learned about independently releasing improvised music.” For the full version: www.patreon.com/posts/75985181

JAZZ IN CANBERRA WORDS D I RK Z EYLMANS VAN EMMI CH OVEN A RT WO RK MEG KO L AC

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M O L LY P H OTO BY L A L A H O S P I TA L I T Y G RO U P

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Canberra is a small place with a long jazz histor y. It ’s always had a vibrant scene and 2024 has witnessed much of the pre - COVID vibrancy return . Jazz is alive and well in the cit y, with several venues – Molly, Hippo Co and Smith’s Alternative – all within half a kilometre of each other, providing a consistent base supporting both the plentiful and talented pool of local musicians and interstate touring artists .

Wednesday nights are thriving and seem to be somewhat the “jazz night” with each aforementioned venue presenting a form of it.

A beautifully themed cocktail bar, Molly is located in the heart of Canberra, only a short stroll from Australian National University (ANU) – if you can find it. Set up in the style of a 1920s speakeasy with an inconspicuous entrance, easy to miss for newcomers, it is well worth the effort. Through the unmarked door, up the stairs, over a beautiful mosaic tile “doormat” with the name inlaid – the only hint you’re in the right place – you enter a decadent and well-stocked bar. Known for their extensive cocktail menu, Molly provides a fitting backdrop to the fantastic music performed. The regular jazz jam every Wednesday night is popular, attracting a wide range of performers. “Sunday Supper Club” on – you guessed it – Sundays, takes you back to the Roaring 20s with the best trad players going, having a lot of fun. “Jazz on the Rocks” and “Bourbon Street” on Tuesday and Thursday nights respectively, round out the offering of dedicated live weekly jazz at Molly.

A 10-minute walk away is another mainstay venue – Hippo Co. Also located upstairs, Hippo has one of the widest selections of fine whisky on offer anywhere. Whilst hosting a broader range of music across the week, they have a Wednesday night jazz gig that’s been running since the 90s, although this has recently changed to incorporate more rhythm and blues artists too. The Old Canberra Inn, not too far away, also hosts a Wednesday night jazz jam session that always has a good crowd.

A former bookshop housed in the iconic Melbourne Building in the heart of Civic, Smith’s Alternative is an art gallery and cafe by day, transforming into an event space and bar in the evenings. Hosting a wide variety of artforms, Wednesday night’s jazz jam session focuses on early American music. There’s also the bi-monthly “Django Jam” for the gypsy jazz enthusiast as well as regular jazz performances throughout the week, often by touring artists.

As far as touring goes, it’s been a healthy year. We saw Anton Delecca, Julien Wilson, John Harkins, Paul Cutlan, Miroslav Bukovsky and many more, all playing at Smith’s Alternative. This is the venue for touring bands who can do the gig through funding and door deals. This model is highly successful and essential in providing the community with the connection to the rest of the country it needs.

We also had some serious international acts such as Wynton Marsalis and Harry Connick Junior. These gigs also provide spin-offs such as

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a fantastic session from tenor saxophonist Jerry Weldon playing a gig on his night off, with members of the Connick band which really brought some authentic jazz to Canberra and was very well received.

The Canberra Jazz Club runs a gig one Sunday each month at the Canberra Southern Cross Club in Jamison. They have trad players from around the country coming in as well as the remaining players from the Black Mountain Jazz Band. The jazz club has been running for as long as anyone can remember and membership is actually growing again this year.

There is an interesting history of jazz in the capital. The trad revival saw a great band called the Fortified Few featuring Greg Gibson on reeds, which inspired the Black Mountain Jazz Band in the 80–90s and beyond. In the 1960s there was a six-night-a-week jazz venue running in the city called the Pendulum, downstairs at Garema Place.

Gerry Gardiner was the bass player who had been with the house band at the El Rocco in the 50s with John Sangster and Col Nolan, and also played with Johnny O’Keefe’s original band, The Dee Jays.

H I P P O C O.

At the other end of the spectrum is our annual free music event called SoundOut, an improvisational and experimental music, film and arts festival. Until COVID-19 this featured international headline musicians from different countries. Post COVID, it has been more focused on Australian musicians – which is understandable – though 2024 saw the return of international artists working in collaboration with local artists. SoundOut is a gateway for exploratory musicart events, providing a much-needed avenue for brilliant musical endeavours from around the world. It continues to flourish, supporting the free improvisation community.

Diversity has always been the ethos of jazz as an artform, it’s good to see that people are able to find places to share and express what they are into. The scene here is broad and encompasses everything from trad to free and everything in between.

An example of this crossover is the brainchild of Spectrum Big Band director Andrew Kimber (from Canberra City Band), who earlier this year sought to reimagine pop/modern music with big band.

CANcophony, part of the Enlighten After Dark series, saw Canberra’s best artists perform their original music backed by the 30-piece Jazz Orchestra Spectrum Big Band. This included artists such as Citizen Kay, Bec Taylor and the Lyrebirds, The Burley Griffin, Lucy Sugerman, Gia Ransome, Peach Lane, Sesame Girl and Viktor Rufus.

There are several big bands in Canberra, actively performing and collaborating. In addition to Spectrum are the Blamey Street Big Band and In Full Swing. These are made up of community members and can deliver some great music. There is also the ANU jazz ensemble for non-music students who want to continue playing during their tertiary studies in other faculties.

So, all in all, for what is a small city, there is a culture that’s vibrant and active.

S M I T H ’ S A LT E RN AT IV E

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“ I T H I N K I T ’S FA I R TO SAY T H E RE’S A N EV E N M EASURE O F LOV E A N D RES P ECT FO R JAZZ A N D I M P ROVI S I N G M US I C IA N S I N T H I S C I T Y.”

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The Canberra School of Music’s jazz course seems to be picking up again. Young players are emerging and at the moment it seems guitarists are really strong under Greg Stott’s tutelage, with players such as Aiden Herstick, Dylan Slater, Liv Uebergang and Michael Larsen-Collins, who are all recent graduates or are about to graduate.

They are out there playing. On drums we have Gus Henderson, Steve Richards, Nicholas McBride, Sean Kirk and Hugh Magri-Bull. So, it’s looking healthy. Saxophone is strong with John Mackey, Danny Junor, Flynn Marcus, Con Campbell, Justin Buckingham and myself. All fine musicians with a lot to offer musically.

We shall see what the future holds in store – hopefully the jazz course will continue to grow, providing Canberra with young talent and fresh faces. The challenge to obtain funding for a course like this is considerable, even though it remains in high demand.

This year we saw the loss of guitarist Dave Kain, a founding member of the ANU jazz course. He passed away at 74, having played in Sydney in the 60s and 70s. His students went on to become some fine musicians – Ben Butler lives and plays in New York, Carl Dewhurst after a stint in New York now lectures at Sydney Conservatorium of Music – to name a few. Dave also had a long history of playing with the likes of George Washingmachine, who also came from Canberra.

We also lost a great Canberran tenor sax player late last year by the name of Niels Rosendahl who had made a name for himself in Melbourne and was residing in Perth. He was loved by everyone who knew him.

The future looks as bright as ever for Canberra’s jazz scene. While the heady days of the 90s and early 2000s may be hard to beat, it’s not far off considering we had the global financial crisis (GFC) and then COVID which both set things back. It’s due to solid public support and cooperative venues that a lively jazz culture exists here, in a relatively remote city with a population of only 500,000. So, looking back at the last 12 months, it’s great to wonder what 2025 will bring. I imagine that things are looking up!

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reviews

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WAV ES Ross McHenry Earshift Music

Ross McHenry is not exactly a household name, but with compositions this good he has been able to attract a stellar group of musicians to breathe life into his exceptional tunes.

This album should redress that obscurity.

Attention will no doubt be focussed on the presence of saxophonist Donny McCaslin, collaborator with David Bowie on his last album, Blackstar, but from the opener it’s New York-based Matthew Sheens, McHenry’s long time first call pianist and fellow Adelaidean, who shines. From the trio opener with drummer Eric Harland, his playing is complex yet melodic, taking the compositions to a higher level.

McHenry’s focus here is his compositional skill, rather than his bass playing. He is a subtle bassist, happier adding a rhythmic bottom than demonstrating virtuosic skills. Though notably on “Odysseus In Brooklyn”, he proves he is no slouch on his chosen instrument. Particularly poignant is “July 1986”, sad but beautiful, dedicated to his twin brother who only made it to nine months of age.

Then, of course, there is the brilliant playing of McCaslin, trumpeter Adam O’Farrill and guitarist Ben Monder, who also appeared on the aforesaid Blackstar. Harland’s percussive excursions are on full display from the first track. He continues in this vein throughout the album, to these ears some of his best drumming on record. McCaslin has a very distinctive tone which blends in perfectly with O’Farrill’s dry tone; the result is sublime.

This is a very fine album and, despite a pretty typical instrumental line-up, sounds like nothing else; a rare feat brilliantly achieved.

Michael Prescott

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F L I CK ER & POLAR BIRD Andrea Keller Independent

On this double CD, Keller again pushes the boundaries of jazz composition as she has done many times before.

The work is divided into two sections: “Flicker” and “Polar Bird”, distinct works but with an instrumental commonality.

As the cover states, “For Trio, Strings and Voice”. The trio being Keller on piano, John Mackey on sax and Miroslav Bukovsky on trumpet. Strings are two sextets: “Canberra” are mostly “Polar Bird” while “Sydney” cover most of “Flicker”. Finally, on “Polar Bird”, vocalists Rachael Thoms and Liam Budge join them on three tracks.

The sextets are not there to add sweetness to the music. They are ingrained into the works, a major part of the whole. In fact, it’s hard to contemplate the music without them.

All but “Flicker #2”, as in flickers of memory, consists of the trio and strings with captivating melodies and great playing from all. There is a consistency in approach here, while “Polar Bird”, shows the great variety in Keller’s compositional skill.

The first piece is in three sections, opening with eerie strings before the closest Keller has ever got to free jazz, bookended by a frenetic sextet third section. By contrast, the vocal works are things of great beauty and achingly sung. Here Keller shows she is more than capable of composing in the song format.

Furthermore, these are simply gorgeous tunes.

This collection is not a typical jazz album, but it once again confirms Keller’s standing as one of Australia’s most important musicians and composers.

Michael Prescott

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C OSMIC CLIFFS Mount Kujo Independent

“We create the space,” a self-proclaimed key tenet of the band Mount Kujo, has taken on new dimensions with their sophomore release, Cosmic Cliffs. The album cover features an actual photograph of space captured by the James Webb Telescope.

As a local Melbourne band, it is somewhat surprising – though perhaps it shouldn’t be – to hear influences from the likes of Ezra Collective, Shabaka Hutchings and The Comet Is Coming, alongside Mount Kujo’s own unique stylings in this bold and expansive record. This infusion lends Cosmic Cliffs an international air of mystique.

Boasting a 10-strong lineup, not including special guests, the music offers ample depth and intricate sonic details to explore. Adding to this, the fun arrangements and focus on rhythm make this an album that not only sustains but rewards multiple listens.

This addition to Mount Kujo’s small but growing discography showcases the creative and musical prowess within the group and is an instant “yes” from me.

Josh Underhill

BL IS S Turiya Independent

Nala Sinephro’s Space 1.8 meets DOMi & JD Beck, the debut record Bliss by Turiya boasts a unique push-and-pull dynamic that is glorious to listen to.

With jazz harp gaining prominence on the global stage in recent years thanks to artists such as Brandee Younger and pioneers including Dorothy Ashby and Alice Coltrane, it’s an exciting time to see the harp emerging from its stiff historical background and into the grooving and improvising limelight. The band’s name, Turiya, references a Hindu philosophy of self-awareness and understanding of everything beyond our limited direct experience – ideas worth bearing in mind as you listen to the album.

Making up the trio, Michelle Smith is on harp, Kate Pass on bass and Talya Valenti on drums. Michelle plays with a commanding and deft touch, bringing justice to the beauty of her instrument. Kate’s contributions on double bass match in tone and sensitivity, while Talya’s creatively played rhythms on drums add a wonderful and emergent sound to the record. Of the three, Talya is the musician I had not heard of until this record and one I will now be keeping a keen ear out for.

Bliss explores all the dynamic potential that a harp trio can offer, oscillating between swinging, grimy beats and sweeping, lush movements. Each musician’s instrumental voice is given equal space, making the whole album a feast for the ears and mind. Listen to the album now and show some love for this supremely talented musical group.

Josh Underhill

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N O POSTC ODE Mace Francis Orchestra Independent

Jazz ensembles in this country come decked out in all sorts of stripes. Some, like Vanessa Perica Orchestra, take a leaf out of the Gil Evans songbook, favouring musical texture and colouration. Others, such as Sydney’s ATM Big Band, incorporate elements of swing, tracing a thin, convoluted line all the way back to Ellington. Perth’s Mace Francis Orchestra is unquestionably in the latter camp, swinging like hell when it counts.

But things are never that simple, are they? Composer and conductor Mace Francis happily lays claim to a lineage that embraces modern bandleaders like Bob Brookmeyer, Thad Jones, as well as Maria Schneider (perhaps Gil Evans’s greatest disciple). Whichever way we slice it, the sheer dynamism found on No Postcode makes a strong case for the vibrancy and vitality of local jazz orchestras.

The opening title track is fuelled by squalling guitar and sharp horn blasts, prefiguring dense overlays of brass and wind that surge and crest in waves. Jayden Blockley’s ululating soprano sax, when it arrives, is all bluster and swagger, pitched against frenetic orchestration. “Empty Landscape”, by turn, is motored by a thin veneer of brass, underpinned by dense percussion; while “Sleepy Duke” explores lush romanticism, heightened by Ricki Malet’s languorous trumpet. “An Ocean Seen” pushes out a series of noirish figures, threatening and malevolent.

No Postcode boasts a wealth of eclecticism and spirited ensemble playing, added to which are Francis’s finely-tuned compositions. The upshot is a state-of-the-art report card on contemporary big band music.

Des Cowley

OUTLIN ES Austin Salisbury Trio Independent

Perth/Boorloo-based Austin Salisbury Trio mark their arrival on the scene with their debut full-length album after releasing two EPs that laid the groundwork for their unique approach to piano trio format.

All three musicians, including Alistair Peel on bass and Pete Evans on drums, are exciting and accomplished young players who seem to have found kindred spirits in each other. Salisbury’s compositions provide the vehicle but Peel and Evans sound more like collaborators than sidemen. Evans orchestrates the music with sensitivity and taste, giving each piece a dynamic arc, while Peel’s time is crisp and tone is strong. Salisbury demonstrates his maturity as an improviser, allowing his phrases breath and flow.

There is plenty to dig into in these rhythmically and harmonically rich compositions that are at once intricate and understated. The group draw on a range of rhythmic feels, from swing to Latin-influenced and more backbeat-oriented grooves. Fitting into the lineage of players like Bobby Timmons or Horace Silver, this group’s contemporary reference points might include Aaron Parks and Jason Moran.

The album opener and closer represent the strongest artistic statements and clearest expression of musical identity on the album. “Shoot From The Hip” begins with a bass ostinato before a satisfying release into the C section, while “State Lines” is reminiscent of the classic Australian jazz tune “Silverland” by Paul Grabowsky. I hope this group is here to stay and I look forward to following their progression.

Stephen Hornby

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FE ELIN ’ G RO OV Y Nicki Parrott Arbors Records

As a follow-up to If You Could Read My Mind, a curated collection of seventies pop songs in a jazz setting, bassist and vocalist Nicki Parrott embarks on another captivating hat tip in the jazz tradition, this time encompassing popular songs of the sixties era to deliver an amiable dozen classics with finesse, balancing a reverence for tradition with an unyielding sense of innovation.

Once the theme gets established on the title track “Feelin’ Groovy”, there is a sense of unsurpassed ensemble cohesion. The chemistry between the musicians is undeniable in this all-Australian band comprising Steve Russell (piano), Todd Hardy (trumpet and flugelhorn), Dave Sanders (drums), Martha Baartz (saxophone) and Shane Hannan (trombone), who effortlessly cover the wide variety of grooves.

Pianist Russell is an adventurous yet lyrical player whose solos and empathetic pianism are a delight.

The passionate horns of Baartz, Hardy and Hannan on their solos are delightfully engaging. Australian guitar legend Jim Kelly guests on a sumptuous rendition of “Everybody’s Talkin’”. On “Pure Imagination”, “If I Fell” and “Both Sides Now”, Parrott furnishes delightfully sensitive vocal readings, her voice graciously gliding through the melodies. On the marvellously sleek and sexy rendition of the Sergio Mendes bossa nova classic “Mas Que Nada”, Parrott delivers the vocals to form, leaving space for her deft bass work to shine.

It almost seems as if the ensemble is having too much fun to stop playing and listeners may experience the same effect as they sing along with all the lyrics included in the package.

Barry O’Sullivan

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VOLANT Matthew Ottignon Earshift Music

New Zealand-born, Sydney-based saxophonist Matthew Ottignon has been fronting his longrunning project Mister Ott since 2012, mashing jazz with Afro-funk, electro and hypnotic dancefloor grooves. But there was nothing about Mister Ott’s music that quite prepared me for Volant. To my ears, it feels like a giant step up. Working with a new acoustic quartet – pianist Lauren Tsamouras, bassist Hannah James and drummer Holly Connor – Ottignon has dug deep, burrowing into a brand of spiritual jazz whose roots lie in the music of John and Alice Coltrane, Pharoah Sanders.

There is something of their questing spirit that shepherds Volant, unmistakably present in its raw, visceral sound, right from the get-go. Opener “Moon Rock” foregrounds Ottignon’s intense, harrowing sax, flaring over rumbling keys. “Naturis” is built on a series of subtle, groove-inflected phrases, Ottignon’s sax whispery, probing, questioning. “The Third Bardo” finds Ottignon mining a deep well of lyricism, recalling Pharoah Sanders’s post-Coltrane modal excursions.

“Singing Bowls” features gentle bells and chimes, with Ottignon’s sax conjuring eastern tonalities.

“Bilpin” hinges on a repetitive bass vamp, over which Ottignon expels a series of exploratory utterances, plumbing the deep register of his baritone saxophone. Throughout, Tsamouras’s piano, full of chromatic hues, is sparse but effective; as are James’s supple basslines and Connor’s finely-etched, minimalist percussion.

The recent re-envisioning of Coltrane’s spiritual jazz begs the question: is there something about this music, flush with heightened beauty and transcendence, that speaks tellingly to our times? On the strength of Volant, one senses a resounding yes.

Des Cowley

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L IV E AT J M I Charlotte Mclean Jazz in Meanjin/4000 records

Brisbane/Meanjin-based vocalist Charlotte Mclean’s latest release captures her live performance with her quartet at the Jazz Music Institute in Queensland. The album comprises a selection of jazz standards alongside a few of Mclean’s original tunes.

Mclean is a masterful interpreter of the Great American Songbook and a powerful improviser. She is a virtuoso vocalist with an expressive tone and inventive phrasing. There is a playful joy that is captured on this live recording, the interaction and energy encouraging some adventurous and heartfelt improvisations.

Mclean is joined by the equally masterful Ben Hauptmann on guitar. Hauptmann’s tone and articulation are clear and commanding, his lines deeply groovy and infused with bluesy inflections, perhaps resembling a modern-day Grant Green. Christopher Evans on drums is light, almost weightless, giving the music a smooth buoyancy, offsetting Nick Quigley’s (bass) driving beat and percussive tone. Chris James (alto saxophone) offers his laid back, dynamic sound on a couple of tracks.

Mclean’s own compositions offer some stylistic variety like the bluegrass-tinged “Warfare” and the Joni Mitchell-esque “A Comforting Weight”. Her compositions exhibit the sophistication and craft you would expect from an accomplished jazz musician, full of rich harmony and acrobatic melodies. Mclean has all the tools at her disposal, and I look forward to hearing how her compositional voice evolves and deepens.

Stephen Hornby

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MA D GA MBLE Mad Gamble Independent

Touting a distinctly Melbourne brand of unified eclecticism, Mad Gamble’s self-titled EP is short (13 minutes and 55 seconds), but deliciously sweet.

Mad Gamble effortlessly grooves through genre lines, creating sounds that simply resonate. Drawing influences from jazz, Latin, reggae and electronic music, the band – comprising Nana Koizumi (trumpet & vocals), Ezequiel Balseca (keyboards), Rory TiganisHannan (drums), and featuring Marcos Villalta (guitar) on the second track, “Brunswick” – plays with listeners’ expectations. You anticipate a zig, but there’s a zag; you expect a duck, but there’s a weave. All of this is done intelligently, making you want to start the EP from the top once it’s finished.

Recorded live by Ivan Khatchoyan of Choi Productions, the sound quality is both crisp and dynamic. The mix does a fantastic job of highlighting the band’s interplay and the vibrant energy of their live performance.

I’ll be keeping a keen ear out for more from Mad Gamble – and so should you.

Josh Underhill

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F ROM TH E F IRE Audrey Powne BBE Music

Audrey Powne’s debut album, From the Fire, is a masterclass in cohesion and artistry.

Featuring nine tracks composed and produced by Powne, the album showcases her multifaceted talent.

Transitioning from New York to Melbourne during the pandemic, Powne channeled personal upheaval into her most intimate work yet. Its themes of rebirth and rejuvenation were inspired by the regeneration of native trees after the 2019 bushfires.

Powne began creating From the Fire at the piano, developing detailed demos for her band.

Recorded at Melbourne’s Sing Sing Studios, it takes listeners on a journey from the delicate and dreamlike, to the more dynamic and upbeat. The string arrangements and vocal layering are sonically lush.

Myka Wallace on drums effortlessly locks into the groove and Timothy Curnick anchors the rhythm on electric bass, authoritatively drawing the listener in. Pianist James Bowers shines on “Interlude 2” with a masterful performance.

On some tracks, Audrey contributes piano, Rhodes and organ.

The album pays homage to Powne’s key influences e.g., Roy Hargrove, and, much like Hargrove, Powne seamlessly integrates jazz, hip-hop and soul. Her voice is lovely, but her soulful musicality truly shines on the trumpet.

Exuding a laid-back warmth, she effortlessly delivers a fluid melodic expression with rhythmic precision.

As a female producer and arranger myself, I deeply resonate with Powne’s determination to maintain creative control in a male-dominated field. Her polished work stands as a testament to her technical expertise and visionary spirit.

From the Fire is a compelling debut, promising a bright future for Audrey Powne and her innovative artistry.

Julia Messenger

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WILDFIRE Wilbur Whitta Quartet ABC Jazz

Pianist Wilbur Whitta has an impressive pedigree. A graduate of the Sydney Conservatorium of Music, and a masters from the Royal Academy of Music in London, he has been a finalist in the 2021 National Jazz Awards and won the UK-based Dankworth Jazz Composition Award.

On his debut release with his band Wildfire, Whitta intuits the chaos and combat ahead on the impacts of climate change, natural disasters and displaced persons. Gathering together three of this country’s most accomplished young improvisers, Thomas Avgenicos (trumpet), Jack Stoneham (alto sax) and the drummer Alexander Inman-Hislop, Whitta, through his unique and distinctive compositions that on some tracks are predominately atonal with connections back to bop and before, gives us a unique voice to the planet under our feet.

My favourite tracks include “Home”, written for refugees seeking life in a new country, which displays some exciting playing from the horns and piano, and “Not Interested”, which emanates inspiration from the delayed action in addressing the impacts of climate change, on which all four players shine luminously with a default setting of dashing forward motion with piano and horns in hot pursuit of each other, underpinned by a varied but compelling beat. Whitta regularly deploys insistent rhythmic motifs, which serve as launch pads, not only for his glinting musical excursions but also for the other band members’ flights of fancy.

The recording is an exhilarating set with blue-chip collaborators on a heartfelt concept album that the pianist holds close to his heart.

Barry O’Sullivan

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ON TRACKS RO GER M ITCHELL SELECTS T WO D ISPARAT E T RACKS FRO M A FAVOU RIT E ALBU M FOR A CLOSER LIST E N.

KALEID OSC O PE GEST8 Tall Poppies, 2007

Tony Gorman co-leader, composer; Sandy Evans co-leader, composer, tenor and soprano saxophone; Paul Cutlan tenor saxophone, clarinet and bass clarinet; Phil Slater trumpet, Carl Dewhurst guitar; Satsuki Odamura koto and bass koto; Steve Elphick bass, Simon Barker drums; Greg White computer It was difficult to choose between Kaleidoscope and When the Sky Cries Rainbows, two of three albums being re-released digitally by inspirational composer and saxophonist Sandy Evans. What tipped the balance was my fond recollection of GEST8’s Sunday night closing concert at the Wangaratta Festival of Jazz & Blues in 2007. Ever since I have wanted a reprise.

As its name suggests, GEST8 is about slow development and infinite possibilities, with influences as diverse as Japanese, Korean and circus music feeding into free improvisation. Its appeal is hard to convey, yet this music is compelling.

Inner Space 8:24 (Evans) What is there to like or, indeed, to love? Clarity. Space. The separateness of notes. The prominence given to Odamura’s koto, its resonant notes given room to hang in the air. The drone-like undercurrent, suggestive of an endless breath. The tumbling of koto notes, as if over a waterfall, each with a shimmer or a slight quiver. The building and easing of tension through variable dynamics. The belated swelling of horns. The inherent patience of the piece, as in a meditation or a deep reflection. The slight bending of mingled horn notes. The eventual, gradual ebbing away of the induced trance-like state.

Lambent 9:11 (Gorman) Delicate and bold rhythms from koto and bass combine to usher us into and then underpin the whole of this wonderfully engrossing evolution in moods. Along the way we encounter outbreaks suggestive of solar flares or eruptions from a primeval swamp. Soaring then searing saxophones emerge first, mixing in a fiery conflagration before dying away with hints of wistfulness. Later, Slater’s horn beautifully calls to mind the great Tomasz Stanko in sombre musings and lamentations that wash sublimely over the gentle rhythmic foundation, which exquisitely completes the composition.

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artist

ABI LEE

P IAN IST, IM P ROVISER AN D C O M POS ER ABI LEE RELO CAT ED I N 2022 FRO M AUCKLAN D, N EW Z E ALAN D TO NAARM / M ELBOU RN E , D RAWN

BY AUST RAL IA’S C ON T E M PO RARY M US IC SCE N E AN D C ITI N G IN FLU EN CES SUCH AS KEIT H JARRET T, AN D RE A KELLER AN D MIKE N OCK . FROM H ER DEBUT RELE AS E , UP ON TH E H ILL AGAIN, HERE I GO, “ DAY ON E” I S T H E BON US T RACK AVAILABLE WIT H T HIS C OPY OF D IN GO.

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What’s your musical background?

I started playing the piano when I was five and music has always been a part of me. I was always singing in the back of my mum’s car, waking up to my parents playing Louis Armstrong and Billie Holiday, and writing songs about how much I hate maths. I followed my passion and learnt classical piano repertoire till the age of 13. Around this time, I discovered jazz and improvised music, which opened a lot of doors for me.

What is jazz?

As a Korean woman, jazz to me is a form of integral artistic expression and a tradition with significant history. Being aware of this history is a substantial part of learning, playing and appreciating jazz music. Jazz as a genre was my introduction to improvisation which now is one of the most important forms of expression for me.

What excites you about composing?

Composing is like journalling to me. Writing thoughts and feelings down on a piece of paper does a lot, but writing a tune is something deeper, which gives me greater satisfaction. I am always fascinated by the feelings and thoughts I am left with after finishing a tune. Every time I play a tune again, I sit on the feeling or thought the tune is about, which shapes them in different ways.

Tell us something about the track “Day One”.

When I wrote “Day One”, I was in South Korea visiting my family. I was very burnt out at the time and wanted a fresh start with everything, including music. Sitting in front of my aunt’s piano, it reminded me that I was longing for something new and the nervous yet exciting feeling I had on my very first day of school as a kid. This is one of the few pieces I have written with a mood in mind as I wrote it.

What else are you working on?

I recorded with guitarist Stephen Magnusson earlier this year. He was my mentor for the first half of this year and we played both of our originals every week. It’s still in the works but is sounding very special. My trio and I are also trying out my new tunes for our upcoming gigs.

FREE D OW N LOA D w w w.dingojazz .com/abilee - dayone Passcode: 24DINGOLEE

“Day One” is from the album, U p on the Hill Again, Here I Go, featuring Abi Lee (piano), Thomas Coleman Bell (alto saxophone), Jack Smy the (double bass), Alex Siderov (drums).

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education

H I S T O RY L E S S O N : BILL ARMSTRONG T H E FAT H E R O F T H E AUSTRALIAN RECORDING I N D U ST RY WO RDS GREG P HI LL I PS A RT WO RK ROSS C OCKLE

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Bill Armstrong is of ten referred to as the father of the Australian recording industr y.

Since the late 1940s, he has been a pivotal figure in shaping the sound of Australian music. His Armstrong Studios dominated the music recording and commercial voiceover industries in the 60s and 70s .

A significant number of hit records and radio commercials during this era originated from his South Melbourne studios . Bill ’s innovative spirit also led him to pioneer FM radio in Australia, playing a crucial role in the creation of the successful EON FM radio network through one of Melbourne’s first commercial FM licenses . Bill ’s contributions have been recognised with numerous prestigious awards, highlighting his unparalleled influence in recording and broadcasting. Bill Armstrong ’s legacy is a testament to his enduring passion for music and his significant impact on Australia’s cultural landscape.

More recently, Bill has green lighted the Australian Road Crew Association (ARCA) to release 46 albums from his jazz labels Bilarm M usic and Swag gie Records to raise funds for crew members in crisis .

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Beginnings Born in Melbourne in 1929, Bill Armstrong’s involvement in jazz began in his teens as a fan and as a recording engineer.

“It was a time of great excitement in the Melbourne jazz scene,” Bill recalls. “There were jazz clubs, offering a lot of work, and after World War II, a number of great local bands emerged. Graeme Bell, Bob Barnard and Frank Johnson were friends of mine.”

“We got lucky, but we also cared about what we were doing. We created a community of musicians and we enjoyed a great deal of popularity.”

While his father and brothers were builders, young Bill attended Caulfield Technical College studying electrical engineering. In those days the course led to careers on the railways or electricity department. But his friend Neil McRae, a technical engineer at microphone manufacturer Steans Sound Systems, taught him about audio technology and helped him build amps and a disc cutting machine by the age of 19.

The Armstrong family home at 100 Darling Street in East Malvern had an enclosed back verandah with a piano. Bill installed a mic there and invited his friends to record themselves (his bedroom was the control room) on 78 rpm acetates so they’d hear themselves on record for the first time. “They could hear it back immediately and not have to wait two weeks,” Bill remembers. “Just the look on their faces, listening to themselves made it all worthwhile.”

Within 12 months, he bought a Pyrox wire recorder, which let him record at jazz gigs.

Expanding The Recordings In 1946, Australia was the first country in the world to host a jazz festival/convention.

With his Pyrox recorder, Armstrong recorded the fourth one in 1949 at the Prahran Town Hall and took orders from musicians and fans who wanted to buy acetates.

The players and fans would then squeeze themselves into six old vehicles and drive around the city, stopping to play on the streets. Armstrong set up small influential record labels as Paramount, Danceland and Magna Sound.

One of the first that he released, on vinyl, was by Smacka Fitzgibbon with backing

by Graeme Bell’s band, recorded in the Darnum Hotel in Gippsland which the banjo player owned. “You got a good sound in them. Pubs were closed on Sundays then, so you’d invite an audience … some of them police officers!”

The track was released under the pseudonym, Frisco Joe’s Goodtime Boys, with the idea that radio would be more likely to play it if programmers thought it was by an American act.

Setting Up Armstrong Studios From the mid-1950s Armstrong was engineer at radio station 3UZ, manager at W&G Records (he set up its recording studio), supervised Phillips Bell’s sound system at the 1956 Olympics in Melbourne, managed 3B’s Custom Recording department overseeing jingles and managed Telefil Sound Recording and Film Studios.

On December 1, 1965, Bill set up Armstrong Studios in a terrace house on Albert Road in South Melbourne.

In time, Armstrong Studio expanded to five more houses on the street and one behind. At one point, it was the only studio outside the United States to have an 8-track recorder.

Its team of engineers and producers included Roger Savage, John L. Sayers, Graham

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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Its team of engineers and producers included Roger Savage, John L. Sayers, Graham Owens, Ernie Rose, David Mackay, Howard Gable, Peter Dawkins, Ted Albert and Ian Meldrum.

In 1972, Armstrong Studios moved to a new five-studio complex at 180 Bank Street in South Melbourne, the site of an old butter factory, and was responsible for 80% of locally recorded hits for labels such as EMI, RCA, Mushroom and Fable. In 1986, Armstrong sold the studio to The Age “to get back into my love of recording jazz”.

He set up Bilarm Music and took ownership in 2015 of Swaggie Records, which Graeme Bell had founded in 1949. “Everything I’ve ever done in my career has been around music,” he states.

The Honours List The Australian Sound Recording Association (1995) The Audio Engineering Society (1995) The Melbourne Music Festival Hall of Fame (1995) Advance Australia (1995) The Australian Recording Industry Association (1999) The Australasian Performing Right Association (2006) The National Film and Sound Archive (2011) The Age/Music Victoria Hall of Fame (2015) Member of the Order of Australia (AM) (2015) Historical Documents The 46 titles being re-released are historical documents of how the likes of pianist Graeme Bell, trumpet and cornet player Bob Barnard, multi-instrumentalist Don Burrows, trumpeter Frank Johnson and banjo player Smacka Fitzgibbon helped build up the jazz scene.

A release schedule including a full list of albums being released can be found on the ARCA website www.australianroadcrew.com.au/bill-armstrong/ Bill’s Picks Asked to select what he considered highlights from the Bilarm catalogue, Bill opts for: “Barefoot Days” – Smacka Fitzgibbon, 1953 “I’ve Got What It Takes” – Tom Baker’s San Francisco Jazz Band, 1976–1977 “Ragtime Dance” – Lazy Ade Monsbourgh, 1954 “Poor Butterfly” – Don Burrows, 1984 This article first appeared in Australian Musician and is reproduced with permission. The original article can be found at australianmusician.com.au or you can watch the full 45-minute interview on youtube.

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remind me not to forget WORDS TI M NI KO LSKY

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“Jazz means different things to different people, depending on where you first encountered it” – Paul Grabowsky It is interesting to hear jazz artists explore the other, what most people would call non-jazz. Embodying the quote above, some of Australia’s best jazz musicians are deft and dynamic practitioners in other fields, using their immense jazz training, chops and deep listening skills as a basis for understanding music and a prescription for being open to possibilities, rather than being confined to the parameters of a genre and avoiding “colour outside of the lines”.

Tamara Murphy is one such artist. The versatility of her approach has enabled her to thrive in a variety of different contexts such as with Kate Miller-Heidke, Ali McGregor, Frente!, Harry Angus, Nat Bartsch and Paul Grabowsky, Devil Goat Family String Band, Women of Soul and a myriad of other projects. Tamara also writes extensively for others, including Elly Hoyt and Ali McGregor. Tamara leads three bands: Spirograph Studies, Tamara Murphy Trio, Tamara Murphy and The Golden Tone Retrievers.

Remind Me To Not Forget is the first whole album of Tamara’s singing and songwriting.

Conceived through lockdown as a way to keep the creative momentum flowing when there were no gigs, Tamara found that “lots of different things were landing on the page, stylistically”. As well as her assured and adventurous vocal approach, the album features dreamy reverb-drenched atmospheres as well as a swagger that deep experience brings. The album is about texture, timbres and veiled storytelling. The palette she draws from has already been populated with well-considered colours, Pantone approved.

Construction of this sonic landscape has not happened through accidental discovery or naivety, however. It’s partly in the composition, the preproduction, partly in the chart, partly developed through band conversations (and also intuitively, what is not being said) and partly allowing for things to happen organically. Tamara is mindful of the atmosphere – air, space and light – when composing. It’s about how the fabric of the song feels to the listener.

“It’s nice when it doesn’t have to be pretty.”

There is a freedom exerted in the tracks on this album. Sometimes it’s deliberately messy. Things fall apart sonically, moments are left unresolved and some moments are not polished. Deliberately. There’s a craft and nuanced skill in shaping the distortion, chaos in delay feedback repeats and gnarly sonic landscapes. Speaking of the album’s sonic eclecticism, Tamara states: “It doesn’t have to all be homogenic, it can still have variety and logic and unity.”

Tamara’s production approach has developed album by album. Songs preserve the memories and capture a particular feeling, in which the album is constructed as a cohesive musical statement.

“I try to write as intuitively as possible. And if I can’t rely on accessing the flow, I rely on my toolkit of compositional devices.”

For some listeners it will be a significant departure from her much awarded and lauded Spirograph Studies albums, but others will find it a logical extension of creative output in which her embodied musicianship effortlessly shifts between approaches. The context has changed – and perhaps the rooms this music will be played in – but the integrity and musical embodiment comes from the same person. The album’s numerous hooks are sticky; they linger. They demonstrate consideration, nuance and a subversion of the parameters and expectations we’re used to existing in.

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Figure 1

Figure 2

Figure 3

Figure 4

Figure 5

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Musicological Deep Dive Track 6 “The Fold” “The Fold” opens with an atmospheric and celestial texture from Theo Carbo’s sparkly guitar effects and sparse piano accompaniment, providing a bare skeleton of harmony without a steady pulse. [ Figure 1 ] This is setting the scene of an early morning sleepless rumination. However, it’s deliberately obscured. Hinting at how she wants her daughter to be fearless and adventurous, Tamara states: “You don’t know what it’s about until you write it – writing the song is working it out.”

Additionally, Tamara quotes the “Unifying Theory of Two plus Two”: “Make the listener put things together. Don’t give them four; give them two plus two.”

This section departs from the Bb major tonal centre towards a F major/D minor orbit.

Again, subverting expectation by employing the lilting half-diminished built on the tritone of the key centre. Intuition supported by compositional toolkit. [ Figure 2 ] In the next section, the piano develops rhythmic intention and a layering of additional textures including lap steel guitar volume swells. We also get new harmonic landscapes with suggestions of different views of tonal centres utilising sophisticated modal interchange to satisfying musical effect. [ Figure 3 ] The repeated rhythmic motif at the end of this section signals a crossroads; the crunchy Wurlitzer’s seething intent foreshadows what is potentially to come. But expectation is subverted again as we go back for another verse.

Then we get to the epic, cinematic bridge: soaring delay feedback swells, rhythmically timed as 8th notes. This section embraces distortion, chaos and darkness. [ Figure 4 ] The vicious snare rhythmic feature was a result of ensemble production: embracing the trashiness of industrial “found sound” objects sourced from Bunnings, a giant sheet metal quasi-cymbal, with all the band recorded playing snare parts in the circle.

Adopting record production techniques beyond the established paradigm.

The “drop” falls off the cliff abruptly in the coda as we go from over-the-top, maximal and intense to intimate, close and sparse in contrast. Even though our ears expect the music to continue, our expectation of resolution is interrupted. The satisfaction comes from revisiting the intro’s celestial sonic landscape to close the book.

However, the advice lingers: “Just lie still and go to sleep.” [ Figure 5 ] Tamara has managed to fully articulate the vision she had for this album.

“I get to be fussy and a control freak about realising the sounds I hear in my head.”

Sure, this might take a bit longer to realise, but the incredible results speak for themselves.

“It’s my album, I can do with it what I want.”

Yes you can. Yes, you can.

Remind Me Not To Forget is being launched at Northcote Social Club on Sunday 27 October 2024. tamaramurphy.bandcamp.com Dr. Tim Nikolsky is the editor of the Australian Jazz Real Book and is a musician based in Melbourne.

He can be contacted via www.australianjazzrealbook.com

BA R RY H A R RI S

THE BARRY HARRIS METHOD

UNLOCKING THE LANGUAGE OF BEBOP

WO RDS RO B G L AESE MANN

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Birth of a Language Bebop is more than just a genre of music – it is a language to be spoken. It is a refined language that draws heavily from its parents: Western classical music and the melting pot of the burgeoning American jazz scene. As Wynton Marsalis notes on his website, “jazz broke the rules of European conventions and created rules of its own that were so specific, so thorough, and so demanding that a great art resulted.” Looking to extend the language further, virtuosic young improvisors like Bud Powell, Charlie Parker and Thelonius Monk refined it by playing its harmonic and rhythmic depths with heart stopping precision. Barry Harris, one of bebop’s most esteemed educators, was a serious young piano player during the 1940s and learnt the language in the old ways. Harris’s teaching addressed the language in an authentic and musical way, avoiding the shortcomings of the “new ways”.

Barry Harris was a pivotal piano player in Detroit, alongside the likes of Tommy Flanagan and Hank Jones. He performed with jazz legends such as Miles Davis, Sonny Stitt, Cannonball Adderley, Coleman Hawkins, Max Roach and Dexter Gordon. Throughout his distinguished career, Barry mentored numerous prominent musicians, including Paul Chambers, Joe Henderson, Donald Byrd and Charles McPherson. His life’s experience as both a performer and educator, uniquely qualified him to teach the bebop language with authority and deep insight.

By the early 1980s, Harris’s acumen as a teacher and mentor of developing musicians had become legendary. He taught bebop language in live workshops in universities and venues across the globe but was not an author of written books. Rather, Barry was a performer and educator whose teaching style mirrored the old-school master-apprentice approach and taught language through sound and logic, not notation. Among the best documentation of his teaching are the fifty videos by Frans Elsen from The Hague. His recorded workshops, lessons and interviews are available through a variety of sources on YouTube, making it possible for bebop language to be presented to future generations.

C H A R L I E PA R K E R

Modes – The New Way The bebop era was over by the time jazz education was established in the 1960s. The main school of thought was the Chord Scale Theory which came from the teachings of George Russell, who wrote the Lydian Chromatic Concept of Tonal Organization. Russell’s influence as a teacher and band leader was profound. His students Jamey Aebersold, David Baker and Jerry Coker produced the backbone of modern jazz education literature. Their books, recordings and workshops collectively promote chord-scale, shaping the way jazz improvisation is taught today.

Jamey Aebersold – 133 volumes of his Play-Along series and a position at the University of Louisville.

David Baker – 70 books, ran the jazz program at Indiana University, director of National Association of Jazz Educators (NAJE) which influenced the direction of jazz education in the USA and overseas.

Jerry Coker – 17 books such as Patterns for Jazz and The Complete Method for Improvisation and multiple university postings establishing robust jazz programs.

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Methods Compared: Chord-Scale and Barry Harris The main purpose of this article is to introduce the reader to the teachings of Barry Harris by examining his approach alongside chord-scale, focusing on both major and minor ii-V-I progressions. It is assumed that most readers are familiar with the modes, however, for the uninitiated, here is a brief overview: The chord-scale system uses the notes in a scale to create a series of chords. For example, you can use the pitches of a C major scale (C, D, E, F, G, A, B) to create a full scale of diatonic chords. The following image shows the seven diatonic chords formed by a C major scale which are then assigned Roman numerals to indicate position and quality.

The following are the diatonic chords, positions and modes for a C harmonic minor scale.

Assigning a specific scale to each chord provides an accessible framework for improvisation and analysis.

Barry Harris’s method not only assigns scales to chords, but it also teaches the rules needed to create bebop phrasing. Barry developed a method that relied heavily on stories and relationships to understand and memorise the harmonic complexities of the language. His “Creation Story” was a highlight, explaining the theory students needed to create movement and classic bebop sounds. He emphasised starting with diminished harmony rather than the major scale theory that chord-scale approaches rely on.

Barry explains how the 12 chromatic notes divide into two whole-tone scales, which produce three diminished seventh chords. Each diminished seventh chord, in turn, creates four dominant sevenths. Through storytelling, he simplifies this otherwise complex theory with an imaginative and engaging narrative, helping students grasp the relationships between these fundamental musical components.

Here is the story ...

One Chromatic Scale Barry metaphorically illustrated the order of hierarchy needed to make the bebop language operate: “From nothing, God created the 12 notes of the chromatic scale to make our world.”

WO RLD = CH ROMATIC SCALE – C , C #, D, D#, E, F, F #, G , G #, A , A#, B

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Two Whole Tone Scales “So, God sat down and said, ‘I’m still lonely.’ Then what did he do? He made man and woman by taking every second note of the chromatic scale, which became the two whole-tone scales.”

MAN: C, D, E, F #, G#, A#

WOMAN : Db, Eb, F, G , A , B

Three Diminishes “God made man and woman first, and we know what they did. They went to bed and made babies called the ‘diminishes’. To do this He took two bits of DNA from each parent whole-tone scale. Below in red, the D and G#/Ab show the man’s DNA, while the F and B show the woman’s. This creates D diminished: D F Ab B. In fact there are three diminished babies: Cdim7, Ddim7 and Edim7.”

MAN

WO MAN

3 BABY D I M IN IS H ES

Four Dominants from one Diminished “Those three diminished babies (birthed by the two whole-tone scales) will now have their own babies, the Dominants. You get these babies by altering one ‘chromosome’ at a time, lowering one tone by a half-step. Using Ab diminished (Ab B D F), we lower the first note, Ab, to G, which makes a baby G7. Next, still on Abdim, we lower the B to Bb and have another baby, this time it is Bb7. Lowering the D creates Db7, and lowering the F creates E7.”

Below is an image illustrating these transformations:

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This is “Family” in Barry’s world. The Dominants are brothers and sisters. And who do we play with first? Our brothers and sisters. The G7, Bb7, Db7, and E7 are all interchangeable with each other, setting the groundwork for chord substitutions and stretching the harmony in a family way. Barry tells us to practice playing G7 into Bb7, G7 into Db7, and G7 to E7.

Comparing using a ii7-V7-I in C Major To compare chord-scale with Barry Harris’s method, let us begin with a major ii-V-I progression in C (Dm7, G7, Cmaj7 ). This progression is foundational in jazz and provides a clear example of how each method approaches improvisation and harmonic movement.

Using Chord Scale Theory, the modes used in a ii7-V7-I in C major are Dorian for Dm7, Mixolydian for G7, and Ionian (major) for Cmaj7. This approach requires memorising their positions within the major scale.

Position

Chord

Mode

Scale Notes

Scale Degrees (Relative to Root)

ii7

Dm

Dorian

D-E-F-G-A-B-C

1-2-b3-4-5-6-b7

V7

G7

Mixolydian

G-A-B-C-D-E-F

1-2-3-4-5-6-b7

IMaj7

C maj7

Ionian (Major)

C-D-E-F-G-A-B

1-2-3-4-5-6-7

7

Below is an image illustrating the scales and chords for this progression:

With Harris’s approach the ii7 (Dm7 ) is part of the V (G7 ) chord as shown in the image below.

Barry simplifies the ii7-V movement by removing the ii7 (as shown below) whereby focusing solely on the V chord.

Notice the “up and down” scale rule over the G7 and C major. When a chord lasts for two bars, as in the examples below, start from the tonic on beat one, ascend to the seventh, and then return to the tonic on beat three. Barry not only shows which scales to play but also provides rules that teach how to develop phrasing. Simplifying progressions and using scale rules, directs the ear through the inner harmonies of a chord progression.

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To continue our comparison of chord-scale and Harris’s method, let us examine a minor ii-V-i progression in C minor (Dm7b5, G7b9, Cm7 ). This progression adds complexity due to the altered chords and provides insight into how each method manages minor keys.

In chord-scale methodology for the ii7b5-V7b9-i the C harmonic minor scale is used. The relationships would be Dm7b5 (Locrian ♮6), G7b9 (Phrygian Dominant) and Cm (Harmonic minor).

Listed below are the three modes used in a C minor 2-5-1 Position

Chord

Mode

Scale Notes

Scale Degrees (Relative to Root)

ii7b5

Dm7b5

D Locrian ♮6

D, Eb, F, G, Ab, B, C

1, b2, b3, 4, b5, 6, b7

V7b9

G

G Phrygian Dom

G, Ab, B, C, D, Eb, F

1, b2, 3, 4, 5, b6, 7

i

Cm

C Harm Min

C D Eb F G Ab B

1, 2, b3, 4, 5, b6, 7

7b9

It should be noted that many teachers explain the modes using the scale degrees (for example Locrian ♮6 is 1, b2, b3, 4, b5, 6, b7) which makes perfect sense on a visual instrument like piano or guitar however, it can be particularly challenging for horn players.

To find the right sounds for a ii7b5-V7b9-i in C minor, Barry wants the notes from the Bb7 scale played over Dm7b5. To understand his logic, notice below how the Dm7b5 chord is found on the 3rd of the Bb7 chord.

In the first two bars of the next example, notice how the Bb7 dominant seventh scale is used over the two-bar phrase of Dm7b5 to G7b9. Barry builds on his previous scale rule and this time describes the movement as “up and down Bb7 to the 3rd of G.” He’s filling out his scale rule to show how the Bb7 can be run into G7. The siblings are playing again.

In bars three and four of the same example below, over the C minor chord, Barry uses his scale, the minor 6th diminished scale. It’s an eight-note scale reminiscent of George Shearing and Art Tatum. It is beyond the scope of this article to delve into what is considered the essence of Barry Harris’s teaching and performing: the major and minor 6th diminished scales. Instead, only the notation for the two-bar Cmin6dim scale is displayed.

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It should be noted that playing Bb7 scale creates the classic #9, b9, b13 minor bebop sound.

To make it sound right, Barry instructs to leave off the first two notes and start from beat two as shown below. This provides a more logical starting point and invents an interesting way to achieve rhythmic variety.

Finally, to turn these scales into a bebop phrase, the last example uses Barry’s “everything moves through diminished” concept. The 3rd of G7 is a “move me note” and since everything moves through diminished, the next three notes ascend through the parent diminished arpeggio of Abdim7 and resolves with nice voice leading down into the C minor chord. Barry teaches specific technical routines that drill language devices into muscle memory, such as using triplets, voice leading and breaking up scale.

Dr. Barry Harris’s teaching method offers a fundamental shift from the traditional chordscale approach to jazz improvisation. Rather than burdening players with assigning prescribed scales to the chordal information, which can detract from musicality and spontaneity, Barry emphasises deeper harmonic relationships. He introduces diminished harmony early on, illustrating how everything moves through diminished. This approach helps students to hear transitions and movements better.

Barry’s “creation story” categorises important harmonic relationships, such as the parent diminished chord and the dominant seventh “brothers and sisters”. He discourages soloists from fixating on extensions like 9, 11 and 13, instead encouraging them to think in terms of family. Barry’s overall approach promotes playing by ear and embraces the old adage about soloing: “you learn it, then forget it and just play.”

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Rob Glaesemann, a highly regarded professional saxophonist and jazz educator, has dedicated many years to studying Barry Harris’s work.

As the Head of Woodwind and Jazz Coordinator at a leading Melbourne school for 35 years, Rob has integrated Harris’s innovative approach into his own teaching methods. He offers tailored workshops and private lessons, helping musicians unlock their full potential with this transformative method.

Whether you are a student, teacher or professional, Rob can guide you through your development and enhance your ability to speak the bebop language. For more information, you can reach him at glaesemann@gmail.com.

BA R RY H A R R I S

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G U I TA R C A N B E R R A / N G U N N AWA L L A N D A U S T R A L I A N N AT I O N A L U N I V E R S I T Y, 5 T H Y E A R

LIV

UEBERGANG (23)

My Dad’s mid-life crisis introduced me to the guitar and it was love at first play. Later, when my high school teacher showed me jazz via Undercurrent by Bill Evans and Jim Hall, I was hooked.

At ANU, I have been blessed with some fantastic teachers and a great cohort. I’ve been lucky enough to play with legends such as Dave Goodman and next year I hope to do my Honours. My main project is my trio, The UeberGang, with Sean Kirk (drums) and Harrison Whalan (double bass). We currently have a residency at Gang Gang Cafe on the first Friday of every month, so if you’re in Canberra please swing by.

Teachers: Chris Johnstone, Greg Stott, Lachlan Coventry.

Inspiration: Mike Stern, Emily Remler, Kurt Rosenwinkel, Jimmy Raney, Doug Raney.

What I like about jazz? I love that I can connect with people through music AND the fact I can get paid to hang out with my friends, make music and express myself.

What will I be doing in 10 years? Hopefully working at a uni in some capacity.

Favourite pet animal: Obviously, my magical, orange, three-legged cat named Faigon.

Favourite jazz club/festival: Gang Gang Cafe I also like: Reading and walking aimlessly around my suburb.

Best practice tip: Set a timer for 10 minutes. If you are hating it/not in the flow by the time the alarm goes off – STOP. If you are having a blast, start it again and continue.

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S A XO P H O N E , VO C A L S A N D P I A N O E LA N O RA / BU N DJA LU N G LA N D ST A N D REWS LUT H E RA N C O LLEG E

JAMES ELLER (14)

I am 14 years old and first started playing the saxophone six years ago. It was a Christmas gift and where I first found my inspiration for music – now I play 11 instruments. I started to love jazz when I began improvising because of the freedom it provided. I have played at several jazz festivals including Port Fairy Jazz Festival and the Australian Jazz Convention in Tasmania, where I led my own band, JamesE & Mates, to some appreciative crowds. Whilst in Port Fairy, I also competed in the John Huf Award for musicians under 26 years of age – and won.

Teachers: Alex Fletcher Inspiration: Hank Mobley, Michael Brecker and Branford Marsalis are players I look up to.

What I like about jazz? Its freedom and improvisation, and that it is easily customisable to your own unique sound and style.

What will I be doing in 10 years? Touring the world with my music and sharing my passion with everyone and to show people that jazz is amazing and a lot can be learnt from the genre.

Favourite pet animal: Cat – my cat Koko.

Favourite jazz club/festival: Brisbane Jazz Club I also like: I play cricket every Saturday for the Broadbeach Cats and I like writing my own songs.

Best practice tip: “The slower you go the faster you’ll get there.” – John Link

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VIOLIN WINDSOR / BUNURONG LAND J A Z Z & I M P R O V I S AT I O N AT M E L B O U R N E C O N S E R V AT O R I U M O F M U S I C , 2 N D Y E A R

ANNWEN ROBERTS (22)

My practice is rooted in Tasmanian folk music and I have studied jazz or BAM (Black American music) for the last six years. Aided by various scholarships, I have been lucky to learn and play with musicians I deeply respect.

My first album sky omens – supported by a UniMelb IgniteLabs Grant – captures my search for familiarity in the skyline as I move through life and the Australian landscape; the horizon and coastline are an anchor and a constant source of inspiration for me.

Teachers: Andrea Keller, Sam Anning, Xani Kolac, Lizzy Welsh, Kelly Ottaway, Damien Kingston, Carlo Barbaro Inspiration: Hanneke Cassel (folk violinist), Matt Carmichael, Jonathan Zwartz, Sam Anning, Andrea Keller, Mathias Eick, Joshua Redman, Brad Meldhau, Jean-Luc Ponty, and my friends that contributed to the album: Alex Siderov, Caleb Wilson, Jack Dobson, Tristan Meffre and Elijah Davies.

What I like about jazz? As a neurodivergent person improvised music has become a social language for me as well as a spiritual practice. Improvising creates a space in which we can be deeply honest; expressing that which words cannot carry alone. I love that every individual artist in the discipline has contributed to the thing we call jazz, constantly changing and evolving.

What will I be doing in 10 years? I hope I will be chilling in a vast field next to the ocean with a thousand dogs and getting to play music I love with the people I love, to people that care about it and want to hear it. There is not much more that I want in life.

Favourite jazz club/festival: Clarence Jazz Festival in Trouwunna/lutruwita has a community space and love to it that I haven’t seen anywhere else.

I also like: Swimming, drawing, stick and poke tattooing, and running.

Best practice tip: Singing and playing together is the most useful thing I do in my practice, trading fours with myself and singing what I am playing or attempting harmony or contrary motion. It helps to refine what it is I’m trying to “say” as well as being an ear training exercise.

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I’ve been fortunate enough to have had a saxophone and a screwdriver in my hand since the age of two. My dad is a brass and woodwind technician as well as a great tenor saxophonist.

The first gig I ever did, I was around the age of six, alongside my dad and Bernie McGann. I’ve grown up around a lot of great music and a lot of great musicians, especially in our repair shop. Lately, I’ve been doing some transcriptions for a book to go alongside the release of George Coleman’s upcoming album.

Teachers: George Coleman, Lew Tabackin, Houston Person, James Carter, John Mackey, Julien Wilson and Dale Barlow.

Inspiration: My family have always been a very loving inspiration. Eric Wyatt and Jerry Weldon have been two very encouraging friends and mentors over the past year who have really looked out for me. Otherwise, there’s a long list of bop tenor saxophonists and most jazz musicians in general.

What I like about jazz? There is a strong lineage in jazz from player to player, with a drive for everybody to find their own voice, originality and diversity. The umbrella of jazz is wide enough to include everybody in one way or another.

What will I be doing in 10 years?

I hope to still be on a path of self development as a human being and as a musician, to try and grow my voice as an original artist.

Favourite pet animal: The birds in the backyard.

Favourite jazz club/festival: Smalls, Smoke, Village Vanguard I also like: Brass and woodwind repair.

Best practice tip: To focus on a minimum amount of material until it is truly absorbed into your playing, and not get too overwhelmed with how much you may feel like you have to do to be a valid musician.

T E N O R S A XO P H O N E C A N B E R R A / N G U N N AWA L L A N D DICKSON COLLEGE, YEAR 12 (2023)

FLYNN MARCUS (18)

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GEAR

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N UX N ES- 1 DI G I TA L W I N D I N STRUMEN T The recently released NUX NES-1 is a versatile and innovative addition to Digital Wind Instrument offerings. With its sleek, ergonomic design and weighing in at just under a kilogram, it provides a comfortable playing experience with a layout saxophonists will be familiar with. Similar to other electronic wind instruments, the NUX NES-1 offers a reed pressure controller in the mouthpiece to allow for pitch control but also has an additional wheel located next to the right-hand thumb.

A range of reasonable onboard sounds, two built-in speakers (5-watt speaker for full-range sounds, and a 1-inch tweeter for high/ultra-high frequencies), built-in 5.8GHz wireless receiver and bluetooth, ensures getting up and running is easy. The 5-6 hours of battery life playing time should be more than sufficient for most applications. The responsive, touch-sensitive keys offer a natural playing feel, while the intuitive interface makes navigation and sound selection easy.

Another nice feature is the ability to use the NUX NES-1 as a midi controller once connected to the computer via USB. Overall, the NUX NES-1 Digital Wind Instrument is a compelling choice for those seeking a blend of modern technology and traditional wind instrument playability, with a RRP of $1195 it is a solid investment for any music enthusiast.

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KRA F TGE E K M US I C STA N D The KraftGeek Music Stand impresses with its blend of functionality and aesthetically pleasing design. Much time has clearly gone into the design of this product and it’s reflected in the host of awards it has already received including NAMM 2024 “Best in Show”, iF and Red Dot Design awards and being selected to feature in the MoMA Design Store.

Fully extended, the stand is far more stable and solid than its unassuming lightweight compact form suggests. Built with four aluminium alloy sections, a 50cm base with non-slip pads, it supports up to 2kg. The expandable tray slides to accommodate A4 to A3 pages with built-in clips to help hold music in place. Adjustable height (74-168cm) and tilt features ensure a comfortable playing experience, allowing musicians to sit or stand. Additional accessories include the Lumi Light and a phone/tablet are easy to mount.

Overall, the KraftGeek Music Stand is a very impressive, well thought out, compact lightweight music stand. It’s a solid choice for musicians seeking a reliable, versatile stand that is significantly more elegant than the traditional foldable music stands on offer.

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F E S T I VA L S 2024

2025

October 13-22 Brisbane International Jazz Festival Brisbane, QLD

February (dates TBC) SoundOut Festival Canberra, ACT

June (dates TBC) Sydney Con Jazz Festival Sydney, NSW

www.bijf.com.au

www.facebook.com/ SoundOutFestivalandEvents

www.sydneyconjazzfestival.com

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 19-20 Inner West Jazz Fest Annandale, NSW innerwestjazzfest.org

October 24 - November 3 Sydney International Women’s Jazz Fest Sydney, NSW www.sima.org.au/siwjf

October 24 - November 3 (Perth) & November 9-10 (South West) Perth International Jazz Festival Perth & South West, WA www.perthjazzfest.com

November 1-4 Wangaratta Festival of Jazz & Blues Wangaratta, VIC www.wangarattajazz.com

December 7-15 Melbourne Women’s International Jazz Festival Melbourne, VIC www.mwijf.org

December 26-31 Australian Jazz Convention Mildura, VIC www.australianjazzconvention.org.au

February 7-9 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

February 20-23 Clarence Jazz Festival Clarence, TAS www.clarenceartsandevents.net

March 7-9 Kiama Jazz and Blues Festival Kiama, NSW www.kiamajazzandbluesfestival.com.au

April 24 - May 2 Adelaide Jazz Festival Adelaide, SA www.adelaidejazzfestival.com

May 2-4 Newport Jazz Festival Newport, VIC www.melbournejazzjammers.com.au

May 2-4 Generations in Jazz Festival Mt Gambier, SA www.generationsinjazz.com.au

May 30 - June 1 Big Band Blast Bathurst, NSW

www.bigbandblast.org

June (dates TBC) Merimbula Jazz Festival Merimbula, NSW www.merimbulajazz.org.au

June (dates TBC) Cronulla Jazz and Blues Festival Cronulla, NSW www.cronullajazzandbluesfestival.com

June (dates TBC) Castlemaine Jazz Festival Castlemaine, VIC www.castlemainejazzfestival.com.au

July 24-27 Devonport Jazz Festival Devonport, TAS www.devonportjazz.com.au

August (dates TBC) Inverloch Jazz Festival Inverloch, VIC www.inverlochjazzfestival.com

August (dates TBC) Newcastle Jazz Festival Newcastle, NSW www.newcastlejazz.com.au

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GIGS Holli Scott – Weather and Weeds Album Launch Australian jazz vocalist and composer Holli Scott will release her second album Weather and Weeds on October 25, with an exclusive launch performance at Camelot Memorial Hall, Mosman Park, on Sunday 27 October, as part of the Perth International Jazz Festival.

The event will feature visual art and AUSLAN interpretation alongside the performance by Scott, pianist Tal Cohen and saxophonist Jamie Oehlers.

Who speaks, who is heard?

As part of the Sydney International Women’s Jazz Festival, the “She” Ensemble, originally conceived by Ms Kitteridge & Bok Choy for a Living Room Theatre production, presents a sonic improvisation exploring the complexities of the complaint process – who speaks, who is heard and why she is silenced. Featuring original compositions by Holly Connor, Phillippa Murphy-Haste and Freya Schack-Arnott, with Sam Gill and Clayton Thomas.

This performance takes place on 25 October at The Gladstone Hotel, Dulwich Hill.

LIVE

Wangaratta Symphony Orchestra feat. The Daisies The Wangaratta Symphony Orchestra joins forces with local jazz band The Daisies for an evening of music at Holy Trinity Cathedral, Wangaratta, on Sunday 3 November.

This performance will feature jazz standards and popular tunes, accompanied by the cathedral’s pipe organ and lighting effects. The program showcases the talents of both groups in a creative, atmospheric setting, as part of the Wangaratta Festival of Jazz & Blues.

The Village Square The Village Square combines music and spoken word to tell stories of love, loss, misfortune, and mirth in an imaginary town. Featuring renowned Australian musicians Zoe Knighton (cello), Robbie Melville (guitar) and narrator David Wilkinson, this show debuts at Blackwood Community Hall on 9 November, supported by the Hide + Seek Festival.

Australian Art Orchestra – 30th Anniversary The Australian Art Orchestra (AAO) celebrates its 30th anniversary with this performance uniting artists from its three-decade journey on 15 November at Melbourne Recital Centre. Featuring the reimagined Ringing The Bell Backwards from 1994 and premieres by Aaron Choulai and Sofia Carbonara, this milestone concert includes Scott Tinkler, Aviva Endean, Adrian Sherriff and past AAO Artistic Directors Paul Grabowsky AO and Peter Knight.

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BUILDING BRIDGES WORLD JAZZ CONFERENCE 2024 ADAM S IM MON S After a five-year break, it felt somewhat comforting to return once again to Amersfoort for the World Jazz Conference (WJC) in August this year.

Organised by the World Jazz Network (WJN), the conference is held annually in conjunction with the Amersfoort World Jazz Festival (AWJF), one of the Netherlands’ premier jazz festivals. Hosted in Amersfoort – named 2023 European City of the Year for its emphasis on wellbeing and happiness – this dual-event format perfectly reflects the city’s welcoming spirit and commitment to fostering community, where participants engage in insightful discussions, network with peers and explore opportunities within the international jazz scene.

A musician’s paradise Since its inception in 2016, the WJC has been a forum that encourages the exchange of ideas and cross-cultural collaboration. Attendees include representatives from prestigious jazz festivals, venues and media outlets, each sharing the richness of their own traditions and experiences. The conference features panels, presentations, and networking sessions, all designed to promote the mobility and visibility of jazz artists worldwide.

Alexander Beets, the festival director of AWJF and a key figure behind the WJC, reflects on the conference’s unique environment: “When I was young, I wanted to find a place where I could show my music, meet a network of professionals, media and musicians who were really interested in my music and together celebrate the richness, history and development in jazz. After 26 years of hard work, I think I have created that unique spot on earth, including the late-night jam sessions, lectures, workshops and everything.” This sentiment captures the spirit of the WJC and AWJF, offering a space that not only showcases talent but also builds lasting connections across the global jazz community, and in Beet’s own words, has created a true “musician’s paradise”.

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Australian connections It was in 2017 at Jazzahead, another major music industry event in Europe, that I first met Alexander Beets, whose generous invitation to attend the Amersfoort Jazz Festival a month later marked the beginning of an enduring connection. I had just begun my role as the lead co-artistic director of Wangaratta Festival of Jazz & Blues (WFJB). I returned in subsequent years to accompany our National Jazz Award winners James Macaulay and Alex Hirlian (with Arcing Wires), solidifying this bond with the WJN and its vibrant community.

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While COVID-19 disrupted plans in 2020, WFJB did present Dutch saxophonist Kika Sprangers in a virtual concert, as well as my own “Broodje Hadi” homage, maintaining the connection between Australia and the WJN. In 2023, Australian saxophonist Flora Carbo participated in person, presented by Perth International Jazz Festival. This year I returned to represent Dingo, though at the last minute I was invited to step in as a guest performer when Perthbased saxophonist Jamie Oehlers was unable to attend due to family circumstances.

The WJN’s inclusive nature was evident from my first experience at the WJC, where I was invited to help draft the mission statement.

This gesture reflects the network’s welcoming ethos and its potential to foster deeper collaboration between Australia and the global jazz community. While a reciprocal visit to Australia by WJN partners has yet to occur, there are definite intentions for 2025.

WJC 2024 overview

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This year’s international gathering featured representatives from over 20 countries across four continents. Across the board, participants acknowledged shared challenges, including reduced funding, limited access to support, decreased mobility and smaller audience numbers. Despite these hurdles, the conference was a testament to the resilience and passion that continue to drive the jazz community. Delegates shared how they wanted to contribute to the global jazz community, with “building bridges” emerging as a common theme, underscoring the importance of collaboration and cultural exchange.

The conference featured several roundtables and panels that provided valuable insights and practical advice. Discussions on jazz education focused on youth big bands and engaging younger audiences, while media roundtables explored how festivals and musicians can better connect with broader audiences. A significant development was the agreement among nine European members on establishing a more formal organisational structure for the WJN to secure European Union (EU) funding, marking a major step forward for the network.

The Next Generation The SENA Performers International Laureate Festival is a cornerstone of the WJC, dedicated to showcasing emerging talents from around the globe. This prestigious festival-within-a-

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festival provides a platform for young jazz musicians to share their unique interpretations and cultural influences. The Laureate Festival not only celebrates these musicians’ skills and creativity but also fosters international collaboration and cultural exchange, aligning perfectly with the overarching goals of the WJC. The 2024 edition featured a wonderfully diverse lineup and innovative performances. Standouts included the Bulgarian duo Trikop, featuring gadulka player Hristina Beleva and double bassist Vasil Hajigrudev, Indonesia’s Vertigong and vocalist Anting, and the talented young saxophonists Karlah Nhlamulo Rametsi and Nhlanhla Mahlangu, who demonstrated a deep connection to their musical heritage in a celebration of South African jazz, along with Darren English (trumpet), Titi Luzipo (vocals) and Thapelo Khumisi (piano). Thai saxophonist Sanpond, presented by national treasure Koh Mr. Saxman alongside the Takeshi Band, also garnered enthusiastic responses for his jazz fusion inspired performances.

Audience reactions were overwhelmingly positive, underscoring the program’s success in engaging listeners with high-quality music that transcends borders. For me, the Laureate Program mirrors the best of the festivals that have inspired me as a listener, with an emphasis on musical quality and fostering an adventurous spirit in audiences, encouraging them to embrace new and unfamiliar sounds.

Engagement and Networking The WJC thrives on its vibrant mix of formal and informal networking opportunities, creating fertile ground for collaboration and the exchange of ideas. The conference’s interactive elements are designed to foster meaningful connections among participants, from structured panels and workshops to spontaneous interactions during meals, networking drinks, and late-night jam sessions.

Beyond the formal sessions, the WJC’s informal networking opportunities often led to the most memorable exchanges. During a late-night jam session, I joined a remarkably eclectic group of musicians, including Koh Mr. Saxman and Pang Saxgirl from Thailand, Thapelo Khumisi from South Africa, Ellister van der Molen and Marius Beets from the Netherlands, and Sicilian-based Scottish expat Malcolm Charlton aka Nick the Nightfly, jamming on such jazz classics as Herbie Hancock’s “Cantaloupe Island” and Cole Porter’s “Night and Day,” witnessing high-quality artists from diverse backgrounds come together, united by a shared love of jazz.

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Looking to the future The future of the WJC and the global jazz community looks promising, with several exciting developments emerging from this year’s gathering. One of the most significant initiatives is the formation of an EU partnership to help mobilise artists across nine festivals. As Jazz NL Chair Michel Peek points out, this collaboration will serve as a pilot for a broader, more formal global network, offering a new model for international artist mobility and cultural exchange: “I think the EU collaboration is a first step and test case of how an informal network can grow and probably there will be a formal entity in the future. This philosophy of creating value for all through collaboration becomes a much more shared belief.” This initiative reflects the World Jazz Network’s commitment to fostering global connections and supporting the growth of jazz communities worldwide.

In parallel, AWJF is undergoing proactive changes to ensure its sustainability and growth. While Beets has announced he is stepping down as Festival Director, he will continue to support the festival and drive the WJN, ensuring continuity and stability. In addition, the festival is moving to a new location that promises a more focused experience and a sustainable business model. As Marnix van der Molen notes, “The festival is planning to move to the area in Amersfoort named Oliemolenkwartier or ‘new city’. This location will support a more festival-like feeling. The venues are close together and give more possibilities for ticketed concerts. At the same time, the venue is very close to the old city centre of Amersfoort and will still have the same background.”

Reflecting on Beets’s contribution, van der Molen shares, “During the last 25 years, Alexander Beets was responsible for the development of the festival from a local jazz festival in the city of Amersfoort to a festival with an international jazz network. The transition of the Amersfoort World Jazz Festival in the next years will be supported by Alexander and he will hand over activities to other people in the organisation. He will still be part of the international jazz network.” Beets confirms he is far from done, highlighting the importance of evolving and finding new ways to connect with audiences and support artists: “I think it is good for the festival if new people stand up to bring it to the next level, same as I did in the last 26 years. At the same, I want to continue to work and develop the World Jazz Network and be active in connecting the world of jazz and creating perspectives for world jazz musicians all over the world. I think that is my mission in life.”

Looking ahead, the WJC will remain a core component of the AWJF, continuing to provide a platform for international collaboration and innovation. As Peek confirms: “The international collaboration will remain an essential part of both the festival and the network. It’s a mechanism that works to facilitate international mobility and exposure.” His words capture the essence of the WJC’s approach to networking – organic, inclusive, and deeply impactful. These moments of spontaneous connection, whether in formal panels or informal jams, are where real collaborations begin and the future of jazz is being shaped.

Final thoughts For me, attending the WJC has always been a source of inspiration – a reminder of what the global jazz community can achieve when we come together. This year’s conference was no exception, reaffirming the importance of connection and shared purpose. The WJC feels like an extended family, with genuine interest and invitations extended from all parts of the global community. Australian artists and organisations have much to gain from engaging with this network, leveraging their unique contributions to jazz while overcoming the challenges of geographic isolation.

As we look to the future, it’s essential for Australia to embrace these opportunities for global engagement. By participating in events like the WJC, we can not only showcase the strength and quality of our scene but also enrich it through international collaboration and exchange. In doing so, we will continue to build bridges with a vibrant, inclusive community that thrives on diversity and the generous sharing of ideas and talent.

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A network is only as strong as those who nurture it, and the World Jazz Network is built on the contribution and engagement of its members. In this section, we invited key partners – festival organisers, musicians, educators and media – to share their reflections on the value of connection and collaboration.

Through their experiences at the recent World Jazz Conference, they illustrate how this network fosters creativity, builds international relationships and supports the future of jazz.

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PACHA REE SA- N GUA N PRASE RT (A KA PA N G SAX PACKG I RL) BANGKO K JAZZ FESTIVAL Bangkok, Thailand

Bangkok Jazz Festival is Thailand’s newest jazz festival, launching in 2025, featuring concerts and workshops from international artists and offering the chance for young talent to perform outside their country. Outside of the festival period, we invite international jazz artists to perform at various venues in Bangkok.

The World Jazz Network exchanges international artists in the partnership, giving them the chance to promote their music into different parts of the world as well as learn something new from those places.

Flashback to 2019, SaxPackGirl (Kwang and me) had a wonderful experience performing at Amersfoort World Jazz Festival as Laureate Endorsed Exceptional Talent. As it was my first time performing in Europe, it gave me a lot of inspiration that I still carry with me today. This year, I had the chance to listen to Houston Person – a world saxophone legend – playing live; I couldn’t believe that just his first phrase brought me to tears of joy. @pangsaxpackgirl

NOTHE MBA MA DUMO 4EVERJAZZ | RADIO 702 | J OY O F JAZZ N OT H E M BA M A D U M O

Johannesburg, South Africa

Joy of Jazz Festival is South Africa’s premier jazz festival and has been entertaining Nations for 25 years with a legion of international giants and luminaries of the jazz world, as well as leading lights of South African jazz. 4everjazz creates jazz-related experiences and events promoting the genre and its lifestyle. Jazz and Beyond is a jazz show I present on Radio 702 and CapeTalk567.

During the World Jazz Conference, we learn about new artists that have emerged in the industry and we pick up on trends and innovation in the jazz space. We also present emerging talented South African musicians and market South Africa and continent as a destination. The World Jazz Conference is important for networking opportunities and exchanging ideas, experiences and challenges. It would be fantastic to rotate the conference to other countries hosting it, and in particular, South Africa.

I definitely discovered new talent and was enthralled by the collaborations between young artists and legends. My radio was broadcast live from the festival and this an indication of how technology has advanced and can bring the world together at any place and anytime. joyofjazz.co.za |

@nothemba.madumo

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@nothembaujx

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FABI O LANN IN O A N D ROSANNA M IN A FO S I C I LIA JAZZ FESTIVAL Palermo, Italy

We present festivals and concerts.

What we are building with WJN is an equal partnership model. We do not want to follow the “sell-and-buy” model that is predominant.

Rather we want to realise a win-win cooperation, where we can all provide artists to other festivals and receive artists from these festivals, at the same level.

This is the next level of collaboration between artistic directors that are also musicians of top quality level. This is something that will help young musicians to circulate and spread their art and talent, more than ever. This is the true meaning of being part of a network: no competition, only collaboration. siciliajazzfestival.com

SYLW ESTE R OST ROWS KI SZCZ EC I N JAZZ FESTIVAL Szczecin, Poland

We present the Szczecin Jazz Festival every March, as well as an ongoing concert series throughout the year. I am also regularly touring as a performer.

The benefits of the network I have enjoyed are the connections to other festivals and the culture exchange.

A highlight of the partnership was presenting the World Jazz Network Gala during this year’s Szczecin Jazz Festival in the Philharmonic Hall. szczecinjazz.eu

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MA RGA RI TA BO RI SOVA JAZZ PLUS CO NCERTS Sofia, Bulgaria

Jazz Plus Concerts is a promotion and production company, organising events in Bulgaria since 2005.

Our concert series showcases a diverse lineup of local and international jazz musicians, as well as artists who incorporate jazz elements into other styles such as funk, soul, world music and electronic music.

We have experienced a nice collaboration with the Amersfoort Festival’s endorsed talent, Dafa Trio, while Bulgarian duo Trikop – Hristina Beleva and Vasil Hajigrudev – participated in this year’s Amersfoort World Jazz Festival. It has been a fruitful collaboration because the partners from the World Jazz Network have had the opportunity to experience Bulgarian jazz music.

A personal highlight was the moment when we met these two jazz ladies – Deborah Brown and Maxine Gordon.

Deborah Brown told us that our home town Sofia holds a special place in her heart because she got married there in the 80s. Her workshop was the most natural and human experience during the festival. jazz-plus.com |

@jazzplusconcerts

PETE R VASA RHELYI BABEL ARTS NETWO RK Amsterdam, Netherlands | Barcelona, Spain | Budapest, Hungary | Belgrade, Serbia JA ZZ P LU S C O N C E RTS P RES E N TS T RI KO P P H OTO BY C E ES WO U DA

Babel Arts Network is a community of artists willing to cooperate and to support each other, with a network of professional organisations supporting the artists to create multicultural projects.

Benefits of being involved with WJN includes exchange of projects, presenting each other’s new talents, networking and friendship. Examples include collaborating on the Laureate Jazz Contest organised in Hungary with international jury members and presenting 15 Hungarian musicians in the Netherlands and 15 Dutch musicians in Hungary in 2022.

World Jazz Network is a community of professionals with goodwill, ready to exchange on an equal basis and trusting of each other. Big enough to be operational and small enough to stay effective. babelarts.eu |

@babelsound

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A N DRE L E ROUX IKS CULTURAL CO NSULTING AND CO NCERTS SA Johannesburg, South Africa

IKS assists arts organisations with project management, strategic advice, research and collaborative initiatives.

Working with a network of consultants on a project basis, all driven by a mutual passion to promote the cultural assets of the African continent, IKS associates work both independently and collaboratively towards this goal.

I’ve been coming to Amersfoort for the last 10 years and Alexander [Beets] has been coming to South Africa for the last decade. In November 2020, when the world stood still, Alexander and I collaborated to do an online meeting of jazz friends and colleagues. It resulted in 150 people online from 30 countries. This was a game changer that resulted in a collaborative mobility proposal by nine European Festivals to the EU. Many South African laureates have been exposed to European stages through this platform.

A highlight this year has been reaching an agreement with Poland, Sicily, Netherlands, Lithuania, Spain – Canary Islands, Reunion to build a European Mobility Fund for jazz artists that could also benefit us down South – a game changer, if it works. iksafrica.com

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@andre.leroux.733

RO BI N A RE N DS JAZZ’ HALO Torhout, Belgium

There is more jazz than Jazz’halo and there is Jazz’halo because there is never enough jazz. Jazz musicians and jazz lovers are explorers, looking for “things to happen” but we do not always know where and when it happens.

Jazz’halo may be this guide.

I am glad that through WJN I have met many people who share the same passion as I do. An international company of jazz lovers.

Highlights of this year’s festival were my interview with soul jazz legend Houston Person and the inspiring story of Maxine Gordon, a true jazz messenger.

This network is essential for the music. A lot is happening.

It is important to share experiences and be part of a community that aims to ensure the survival of jazz. www.jazzhalo.be

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@robin.arends.5621

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THAP E LO K H U MIS I U N I SA M US I C FOUN DATION Pretoria, South Africa

Under the Unisa Music Foundation I teach jazz piano and conduct a couple of jazz ensembles.

The aim of the project is to normalise music tuition for disadvantaged communities. For the 2024 Amersfoort World Jazz Festival, we were celebrating South African jazz composers who played a pivotal role through their compositions in our freedom and encouragement through our darkest era.

One of my students, Karla Nhlamulo Rametsi, was endorsed by Amersfoort World Jazz Festival, where he performed with Vertigo Collective, Koh Mr. Saxman and Adam Simmons. This is a great opportunity for him as he is building his career as a jazz musician.

A personal highlight was spending time with the great Houston Person. In my country, his music was part our upbringing and we would sing along to his melodies in the dusty streets of Rocklands near Bloemfontein. He is greatly appreciated in South Africa and his music is always played to this day. thapelokhumisi.com

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@thapelokhumisi

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GRANT WRITING 101: P R E PA R I N G Y O U R B U D G E T ADAM SIMMONS Securing funding is crucial for success in many industries – music is no different.

For those looking to develop their creative practice, record their first album, or take their music on the road, investment through funding is available for those who can state their case. This article focuses on one of the most critical aspects of any grant application: preparing your budget. Drawing upon my own funding successes and failures over the years, I’ll provide an overview of practical tips for creating a competitive budget for your grant application.

Essential Questions to Answer When preparing a budget, answer these key questions: How much will it cost?

What will you contribute?

What funding do you seek?

Clear and concise answers help funders understand your project’s financial requirements and your level of commitment.

Starting the Budget Begin by listing all potential expenses and income sources. This provides a clear picture of your project’s financial landscape and helps identify the funding required to cover any shortfall. I’ve seen people forget things – like the airfares they needed.

Expenses: Materials: Physical items required for your project.

Fees: Payments to artists and other professionals, including taxes, superannuation.

Travel/Accommodation: Costs associated with travel and lodging.

Venue: Costs for renting spaces for performance, rehearsal, recording.

Equipment/Production: Tools or technology needed, usually hired rather than purchased unless specified.

Insurance: Coverage for equipment, venue or participants, including public liability.

Permits/Licenses: Fees for any required permits, such as APRA AMCOS licensing.

Promotion: Marketing and advertising expenses.

Administration: Costs related to managing your project.

Miscellaneous/Contingency: A small percentage (5-10%) for unexpected costs.

Income/Revenue: Sales/Box Office: Revenue from tickets, merchandise, or other products.

Funding: Contributions from grant bodies.

Personal Contributions: Your own financial investment in the project.

Crowdfunding: Funds raised through crowdfunding platforms, if applicable.

Sponsorships/Partnerships: Financial support or collaboration fees from businesses or partner organisations.

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In-Kind Contributions: Goods: Donated materials or equipment.

Services: Volunteered professional services or time, such as legal, design, or mentorship services.

Volunteers: Non-paid participants. Refer to funding body guidelines or state volunteering peak bodies for online calculators.

Promotion: Free advertising or marketing support from partners.

Venue: Free or discounted use of spaces.

Personal: Non-monetary contributions, such as administrative work or personal studio facilities.

List the value of in-kind contributions on both the expense and income sides of your budget. Some application forms do this automatically.

Templates Using provided templates simplifies the budgeting process and ensures compliance with the funding body’s requirements. Templates may vary, so check each organisation’s specifics. Learning to use spreadsheets, like Microsoft Excel or Google Sheets, can streamline budgeting and reduce errors – don’t be afraid, ask for help.

Eligible costs Ensure all requested funds cover eligible activities or items under the grant guidelines. Typically, costs incurred before the project start date are ineligible. Be aware of any restrictions, such as residency requirements for artists or specific funding limits. Non-compliance with these guidelines may render your application ineligible – this is a common occurrence, so be sure to double-check.

Balancing the Budget A crucial aspect of preparing your budget is ensuring it balances. Not everyone does this. Total income should match total expenses.

General budget tips Double-check all calculations and ensure every expense is included.

Include fair pay rates for artists, referencing standards like the Live Performance Award, Musicians Union of Australian or Musicians Australia, and cite your sources.

Justify costs with detailed budget notes to show each line item’s necessity.

Accurately value in-kind contributions and list them on both sides.

Be realistic. Funders prefer to fund as per the proposed budget or not at all.

Always read the fine print and ask questions if unsure Seek advice from peers or mentors to avoid common pitfalls.

By following these guidelines, you’ll be better prepared to present a clear, concise, and compelling budget in your grant application. A well-prepared budget not only enhances your application’s credibility but also increases your chances of securing the necessary funding to bring your project to life.

Next time: Strut your stuff – crafting compelling support materials.

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Additional Content Contributors

Chris Herft – photographer, jazz aficionado

Adelaide Jazz Festival Amersfoort World Jazz Festival APRA AMCOS Brisbane International Jazz Festival Clarence Jazz Festival Creative Original Music Adelaide Johnston Street Jazz Make It Up Club Made Now Music Melbourne International Jazz Festival Melbourne Jazz Co-operative Perth International Jazz Festival Small Space Music SIMA Wangaratta Festival of Jazz & Blues

Freddie Hill – trumpet, composer and educator

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: Robert “Bobbie” Brown – drums, Canberra Jazz Club life member Graeme Davies – harmonica, reeds, piano Paul Emery – bass

Ignatius Jones AM – voice, journalist, artistic/events director Conrad Joyce – bass Zulya Kamalova – voice, director of The Boite Helen Matthews – voice, artistic director, radio presenter ABC and RTRFM Maureen Meers – radio presenter 2MBS

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

Marjan Blan Mali Bou Caleboquendo Carlhauser Glenn Carstens David Clode Cottonbro Mitchell Gaiser Kitti Incedi Tirth Kesharia Malcolm Lightbody Domenico Loia Lucaspezeta V Marin Leio Mclaren Nothing Ahead April Pethybridge Possessed Photography Maxence Pira Jarrod Reed Alejandro De Roa Anni Roenkae Bevlea Ross Arno Senoner Bruno Thethe Jon Tyson Steven Weeks Jake Weirick Jay Wennington Karsten Winegeart Roman Zelenka

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it’s a step to be taken a story to be told a song to be sung daring to dream

ISSN 2652-9637

ISSUE 08 S P RI NG 2024 AUS : $ 19 . 95 Publ ish ed by

9 772652

963002

SOUNDING GRACE

Cover Art ‘Yellow Wattle In Pink Galah Vase’ Sally Dunbar