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Complexity Through Interaction
Complexity Through Interaction An investigation into the spontaneous development of collective musical ideas from simple thematic materials Nicholas Tasman Haywood M.Music Performance, The University of Melbourne (Victorian College of the Arts) Submitted in partial fulfilment of the degree of Doctor of Philosophy University of Tasmania Hobart (June 2014) ii DECLARATION This exegesis contains the results of research carried out at the University of Tasmania, Conservatorium of Music between 2010 and 2013. It contains no material that, to my knowledge, has been accepted for a degree or diploma by the University or any other institution, except by way of background information that is duly acknowledged in the exegesis. I declare that this exegesis is my own work and contains no material previously published or written by another person except where clear acknowledgement or reference has been made in the text. This exegesis may be made available for loan and limited copying in accordance with the Copyright Act 1968. Nicholas Tasman Haywood Date ii Table of Contents Acknowledgements ................................................................................................. iv List of Figures ............................................................................................................ v Abstract ................................................................................................................... vi Chapter 1 ................................................................................................................. -
BOB SEDERGREEN: the INTERVIEW by Adrian Jackson*
BOB SEDERGREEN: THE INTERVIEW by Adrian Jackson* _______________________________________________________ [This interview appeared in the December 1981 edition of Jazz Magazine] ver the last decade, I have had the pleasure of hearing pianist Bob Sedergreen play on many occasions: with vibist Alan Lee, with a succession of bands led O by Brian Brown, as the focal point of the Ted Vining Trio, with Onaje, as the wild card in Peter Gaudion’s Blues Express, providing fairly heroic support to visiting stars Jimmy Witherspoon, Phil Woods, Richie Cole and Milt Jackson, even solo. I have always enjoyed and admired his playing for its unflagging swing and qualities of joy, resourcefulness and commitment, and his determination to take chances at all times in search of inspiration, which he seems to find more frequently than most. He has long impressed me as a jazz musician who often plays ‘above himself’ because he has the courage to do just that. Bob Sedergreen: the sum total of his music is pure Sedergreen… In the last few years, he has continued to increase the scope and depth of his playing, and his confidence in it, to the point where he is obviously one of the best musicians in Australia. We have too few others who can so consistently be so exciting, original, inventive, surprising and enjoyable. __________________________________________________________ *In 1981 when this was published, Adrian Jackson was a freelance writer, who had been jazz critic with the Melbourne Age since 1978. 1 I won’t try to describe his playing. As with any really good jazz artist, his playing is a reflection of his listening and playing experiences, and his own personality. -
Top 40 Singles Top 40 Albums
23 February 1992 CHART #798 Top 40 Singles Top 40 Albums Smells Like Teen Spirit Don't Talk Just Kiss The Commitments OST The Globe 1 Nirvana 21 Right Said Fred 1 Various 21 Big Audio Dynamite Last week 2 / 6 weeks BMG Last week - / 1 weeks FESTIVAL Last week 1 / 6 weeks Platinum / BMG Last week - / 1 weeks SONY Rush Cream Nevermind We Can't Dance 2 Big Audio Dynamite 22 Prince 2 Nirvana 22 Genesis Last week 1 / 9 weeks SONY Last week 12 / 14 weeks WARNER Last week 2 / 11 weeks Gold / UNIVERSAL Last week 22 / 11 weeks Gold / VIRGIN Remember The Time Turn It Up Waking Up The Neighbours Blood Sugar Sex Majik 3 Michael Jackson 23 Oaktowns 3.5.7 3 Bryan Adams 23 Red Hot Chili Peppers Last week - / 1 weeks SONY Last week 18 / 9 weeks EMI Last week 4 / 18 weeks Platinum / POLYGRAM Last week 19 / 16 weeks WARNER Justified And Ancient Pride (In The Name) From Time To Time Mr Lucky 4 The KLF 24 Coles & Clivilles 4 Paul Young 24 John Lee Hooker Last week 11 / 4 weeks FESTIVAL Last week - / 1 weeks SONY Last week 3 / 6 weeks Gold / SONY Last week 24 / 19 weeks Gold / VIRGIN Let's Talk About Sex Is It Good To You Shepherd Moons Full House 5 Salt N Pepa 25 Heavy D & The Boyz 5 Enya 25 John Farnham Last week 5 / 17 weeks POLYGRAM Last week 48 / 6 weeks BMG Last week 5 / 11 weeks WARNER Last week 16 / 7 weeks Gold / BMG Remedy Martika's Kitchen Achtung Baby Armchair Melodies 6 The Black Crowes 26 Martika 6 U2 26 David Gray Last week - / 1 weeks WARNER Last week 24 / 7 weeks SONY Last week 8 / 10 weeks Platinum / POLYGRAM Last week 31 / 3 weeks BMG Don't -
Paul Grabowsky
PAUL GRABOWSKY SELECTED CREDITS DAISY WINTERS (2017) THE MENKOFF METHOD (2015) WORDS AND PICTURES (2013) EMPIRE FALLS (2005) THE JUNGLE BOOK 2(2003) (Original Songs, Lyrics – “Jungle Rhythm”, “W-I-L-D”, “Jungle Rhythm (Mowgli Solo)”) BIOGRAPHY Paul Grabowsky is a pianist, composer, arranger and conductor, and is one of Australia’s most distinguished artists. Born in Papua New Guinea in 1958, Paul was raised in Melbourne where he attended Wesley College. He began classical piano lessons at the age of five, studying with Mack Jost from 1965-1978. He began informal studies in jazz around 1976, and fully devoted his energies to improvised music from 1978. During the 70’s he became prominent in the music scene in Melbourne, working in various jazz, theatre and cabaret projects. He lived in Munich, Germany from 1980-1985, where he was active on the local and European jazz scenes, performing and recording with Johnny Griffin, Chet Baker, Art Farmer, Benny Bailey, Guenther Klatt, Marty Cook and many others. He returned to Australia in 1986. In 1983, he formed the Paul Grabowsky Trio, winner of four ARIA awards and one of Australia’s longest-living and most influential jazz ensembles. He has also won two Helpmann awards, several Bell awards and a Deadly award. He was the Sydney Myer Performing Artist of the year in 2000, and received the Melbourne Prize for Music in 2007. As a performer, he became known for his work with the ‘Wizards of Oz’, a group he co- led with saxophonist Dale Barlow from 1987-1989 and Vince Jones, for whom he was musical director in 1988-89. -
Short Takes Jazz News Festival Reviews Jazz Stories Interviews Columns
THE INDEPENDENT JOURNAL OF CREATIVE IMPROVISED MUSIC SHORT TAKES JAZZ NEWS FESTIVAL REVIEWS JAZZAMANCA 2020 JAZZ STORIES PATTY WATERS INTERVIEWS PETER BRÖTZMANN BILL CROW CHAD LEFOWITZ-BROWN COLUMNS NEW ISSUES - REISSUES PAPATAMUS - CD REVIEWS OBITURARIES Volume 46 Number 2 April May June Edition 2020 Ed Schuller (bassist, composer) on GM Recordings My name is Eddy I play the bass A kind of music For the human race And with beauty and grace Let's stay on the case As we look ahead To an uncertain space Peace, Music Love and Life" More info, please visit: www.gmrecordings.com Email: [email protected] GM Recordings, Inc. P.O. Box 894 Wingdale, NY 12594 3 | CADENCE MAGAZINE | APRIL MAY JUNE 2016 L with Wolfgang Köhler In the Land of Irene Kral & Alan Broadbent Live at A-Trane Berlin “The result is so close, so real, so beautiful – we are hooked!” (Barbara) “I came across this unique jazz singer in Berlin. His live record transforms the deeply moving old pieces into the present.” (Album tip in Guido) “As a custodian of tradition, Leuthäuser surprises above all with his flawless intonation – and that even in a live recording!” (Frankfurter Allgemeine Zeitung) “Leuthäuser captivates the audience with his adorable, youthful velvet voice.” (JazzThing) distributed by www.monsrecords.de presents Kądziela/Dąbrowski/Kasper Tom Release date: 20th March 2020 For more information please visit our shop: sklep.audiocave.pl or contact us at [email protected] The latest piano trio jazz from Quadrangle Music Jeff Fuller & Friends Round & Round Jeff Fuller, bass • Darren Litzie, piano • Ben Bilello, drums On their 4th CD since 2014, Jeff Fuller & Friends provide engaging original jazz compositions in an intimate trio setting. -
Annual Financial Report 30 June 2020
Australasian Performing Right Association Limited (a company limited by guarantee) and its controlled entity ABN 42 000 016 099 Annual Financial Report 30 June 2020 Australasian Performing Right Association Limited and its controlled entity Annual Report 30 June 2020 Directors’ report For the year ended 30 June 2020 The Directors present their report together with the financial statements of the consolidated entity, being the Australasian Performing Right Association Limited (Company) and its controlled entity, for the financial year ended 30 June and the independent auditor’s report thereon. Directors The Directors of the Company at any time during or since the financial year are: Jenny Morris OAM, MNZM Non-executive Writer Director since 1995 and Chair of the Board A writer member of APRA since 1983, Jenny has been a music writer, performer and recording artist since 1980 with three top 5 and four top 20 singles in Australia and similar success in New Zealand. Jenny has recorded nine albums gaining gold, platinum and multi-platinum status in the process and won back to back ARIA awards for best female vocalist. Jenny was inducted into the NZ Music Hall of Fame in 2018. Jenny is also a non-executive director and passionate supporter of Nordoff Robbins Music Therapy Australia. Jenny presents their biennial ‘Art of Music’ gala event, which raises significant and much needed funds for the charity. Bob Aird Non-executive Publisher Director from 1989 to 2019 Bob recently retired from his position as Managing Director of Universal Music Publishing Pty Limited, Universal Music Publishing Group Pty Ltd, Universal/MCA Publishing Pty Limited, Essex Music of Australia Pty Limited and Cromwell Music of Australia Pty Limited which he held for 16 years. -
Jazz in America • the National Jazz Curriculum Test Bank 7 - Avant Garde/Free Jazz and Fusion Select the BEST Answer
Jazz in America • The National Jazz Curriculum Test Bank 7 - Avant Garde/Free Jazz and Fusion Select the BEST answer 1. Free Jazz was a reaction to A. Dixieland B. the yuppies of the 1980s C. the women’s movement D. Rock 'n Roll E. Swing, Cool Jazz, and Hard Bop 2. Free Jazz improvisation was generally A. not predetermined B. easy to listen to C. based on predetermined chord progressions D. based on the Blues E. simple 3. Free Jazz musicians freed themselves by improvising A. for at least three standard choruses B. solely on the emotions of the moment C. ala Kenny G D. infrequently E. according to the composer’s intentions 4. In Free Jazz, traditional values of melody, harmony, and rhythm were A. referred to continually B. used to build the form of a tune C. discarded D. important E. always in the soloist's mind 5. Free Jazz is most closely related to A. the homeless B. improvised 20th century classical and world music C. Rock ‘n Roll D. Funk E. inexpensive jazz 6. Free Jazz allowed for the exploration of A. tonal colors and harmonies B. traditional ways to play Swing C. ideas on how to make jazz more traditional D. ideas on how to make jazz more audience accessible E. expensive jazz 7. Free Jazz A. was highly regarded by all B. pushed the limits of what musicians could play and what audiences could accept C. was popular among musicians D. became the most popular jazz style in the late 1950’s and ‘60s E. -
The Singing Guitar
August 2011 | No. 112 Your FREE Guide to the NYC Jazz Scene nycjazzrecord.com Mike Stern The Singing Guitar Billy Martin • JD Allen • SoLyd Records • Event Calendar Part of what has kept jazz vital over the past several decades despite its commercial decline is the constant influx of new talent and ideas. Jazz is one of the last renewable resources the country and the world has left. Each graduating class of New York@Night musicians, each child who attends an outdoor festival (what’s cuter than a toddler 4 gyrating to “Giant Steps”?), each parent who plays an album for their progeny is Interview: Billy Martin another bulwark against the prematurely-declared demise of jazz. And each generation molds the music to their own image, making it far more than just a 6 by Anders Griffen dusty museum piece. Artist Feature: JD Allen Our features this month are just three examples of dozens, if not hundreds, of individuals who have contributed a swatch to the ever-expanding quilt of jazz. by Martin Longley 7 Guitarist Mike Stern (On The Cover) has fused the innovations of his heroes Miles On The Cover: Mike Stern Davis and Jimi Hendrix. He plays at his home away from home 55Bar several by Laurel Gross times this month. Drummer Billy Martin (Interview) is best known as one-third of 9 Medeski Martin and Wood, themselves a fusion of many styles, but has also Encore: Lest We Forget: worked with many different artists and advanced the language of modern 10 percussion. He will be at the Whitney Museum four times this month as part of Dickie Landry Ray Bryant different groups, including MMW. -
Lists of Members 1996
Lists of Members Governing Bodies, Faculties, Boards, Academic and Administrative Staff 1996 Main Committees and Departmental Lists as at 1st February, 1996. Address All general correspondence directed to the University should be addressed to The Registrar, The University of Melbourne, Parkville, Victoria. Australia, 3052. Telephone: (03) 9344 4000 Fax: (03) 9344 5104 Contents UNIVERSITY OF MELBOURNE: SENIOR OFFICE BEARERS COUNCIL 1 *COMMI 11tES 2 4 COUNCILS OF HALLS OF RESIDENCE COMMITthE OF CONVOCATION 8 *ACADEMIC BOARD FACULTIES 10 BOARDS 13 PROFESSORS 21 22 PROFESSORIAL ASSOCIATES WITH 1-11LE OF PROFESSOR 28 READERS 30 PROFESSORS EMERITUS 35 HEADS OF AFFILIATED COLLEGES 40 HEADS OF HALLS OF RESIDENCE 40 TEACHING AND RESEARCH STAFF - Agriculture, Forestry and Horticulture 41 Architecture, Building and Planning 45 Arts 46 Economics and Commerce 53 Education 56 Engineering 60 Law 65 Medicine, Dentistry and Health Sciences 67 Melbourne Business School 99 Music 100 Science 101 Veterinary Science 107 Victorian College of the Arts 109 LIBRARY 112 FACULTY ADMINISTRATION 115 GRADUATE SCHOOL ADMINISTRATION 119 CENTRAL ADMINISTRATION 120 Office of the Vice-Chancellor and Principal 120 Academic Registrar's Division 122 Academic Services 122 Academic Administration 122 Academic Planning Support Unit 122 External Relations 122 The Graduate Centre 123 International Office 123 Student and Staff Services 123 Human Resources 125 Registrar's Division 126 Executive Services 126 Financial Operations 126 Information -
Glenn Miller, Benny Goodman, and Count Basie Led Other Successful
JAZZ AGE Glenn Miller, Benny Goodman, and Count Basie led other modal jazz (based on musical modes), funk (which re- successful orchestras. While these big bands came to char- prised early jazz), and fusion, which blended jazz and rock acterize the New York jazz scene during the Great De- and included electronic instruments. Miles Davis in his pression, they were contrasted with the small, impover- later career and Chick Corea were two influential fusion ished jazz groups that played at rent parties and the like. artists. During this time the performer was thoroughly identified Hard bop was a continuation ofbebop but in a more by popular culture as an entertainer, the only regular accessible style played by artists such as John Coltrane. venue was the nightclub, and African American music be- Ornette Coleman (1960) developed avant-garde free jazz, came synonymous with American dance music. The big- a style based on the ideas ofThelonius Monk, in which band era was also allied with another popular genre, the free improvisation was central to the style. mainly female jazz vocalists who soloed with the orches- tras. Singers such as Billie Holiday modernized popular- Postmodern Jazz Since 1980 song lyrics, although some believe the idiom was more Hybridity, a greater degree offusion,and traditional jazz akin to white Tin Pan Alley than to jazz. revivals merely touch the surface of the variety of styles Some believe that the big band at its peak represented that make up contemporary jazz. Inclusive ofmany types the golden era ofjazz because it became part ofthe cul- ofworld music, it is accessible, socially conscious, and tural mainstream. -
The Tony Gould Quartet Live in Concert Featuring Graeme Lyall
THE TONY GOULD QUARTET LIVE IN CONCERT FEATURING GRAEME LYALL 1 he main purpose of this recording likes of the Lyall, who has never been even if only for posterity. (The producer is to document the playing of one of remotely interested in promoting his own of this recording, Martin Wright, is one Tthe great jazz saxophonists. extraordinary talent. He reminds one of the few in this country who have a The number of recorded performances of the great Paul Desmond, who might conscience in this regard, and thankfully by Graeme Lyall is shamefully small. It never have been heard had it not been for it extends right across the spectrum of is a classic case of ‘cultural cringe’ in that Brubeck. Desmond, too, by the way, was art music. Some future history of music while this country continues to enjoy visits quiet of nature, which probably accounts in this country will confirm this man’s by outstanding jazz players from overseas, for the sheer beauty of sound both these contribution.) most of whom record prolifically, we tend musicians produce. And so the pieces here were recorded still to ignore some of the marvellous Not many people make a real effort to in two venues, not always under ideal talent ‘on our doorstep’, especially the ensure that we record such musicians, conditions for recording, but given the above, well worth the trouble. These are all well known and much loved pieces. All the performances are spontaneous in every way. Rehearsals consisted of coffee all round, friendly debate about which pieces to play, and what key to play them in, not necessarily the same one each time! The only thing left was to argue about who announces the pieces. -
A Little More Than a Year After Suffering a Stroke and Undergoing Physical Therapy at Kessler Institute Buddy Terry Blows His Sax Like He Never Missed a Beat
Volume 39 • Issue 10 November 2011 Journal of the New Jersey Jazz Society Dedicated to the performance, promotion and preservation of jazz. Saxman Buddy Terry made his first appearance with Swingadelic in more than a year at The Priory in Newark on September 30. Enjoying his return are Audrey Welber and Jeff Hackworth. Photo by Tony Mottola. Back in the Band A little more than a year after suffering a stroke and undergoing physical therapy at Kessler Institute Buddy Terry blows his sax like he never missed a beat. Story and photos on page 30. New JerseyJazzSociety in this issue: NEW JERSEY JAZZ SOCIETY Prez Sez . 2 Bulletin Board . 2 NJJS Calendar . 3 Pee Wee Dance Lessons. 3 Jazz Trivia . 4 Editor’s Pick/Deadlines/NJJS Info . 6 Prez Sez September Jazz Social . 51 CD Winner . 52 By Laura Hull President, NJJS Crow’s Nest . 54 New/Renewed Members . 55 hanks to Ricky Riccardi for joining us at the ■ We invite you to mark your calendar for “The Change of Address/Support NJJS/Volunteer/JOIN NJJS . 55 TOctober Jazz Social. We enjoyed hearing Stomp” — the Pee Wee Russell Memorial Stomp about his work with the Louis Armstrong House that is — taking place Sunday, March 4, 2012 at STORIES Buddy Terry and Swingadelic . cover Museum and the effort put into his book — the Birchwood Manor in Whippany. Our Big Band in the Sky. 8 What a Wonderful World. These are the kinds of confirmed groups include The George Gee Swing Dan’s Den . 10 Orchestra, Emily Asher’s Garden Party, and Luna Stage Jazz.