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NATIONAL JAZZ CO-ORDINATION NEWSLETTER No 10, May 22, 1989 Writer, Editor: Eric Myers, National Jazz Co-Ordinator ______CONTENTS 1

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NATIONAL JAZZ CO-ORDINATION NEWSLETTER No 10, May 22, 1989 Writer, Editor: Eric Myers, National Jazz Co-Ordinator ______CONTENTS 1 NATIONAL JAZZ CO-ORDINATION NEWSLETTER No 10, May 22, 1989 Writer, Editor: Eric Myers, National Jazz Co-ordinator ______________________________________________________ CONTENTS 1. Achievements of the Jazz Co-ordination Programs 2 2. APRA Award for Paul Grabowsky 4 3. In Defence of the Australian Jazz Orchestra 5 4. Australian Bicentennial Authority Publications 9 5. Developing Jazz In Melbourne 10 6. A Jazz Co-ordinator In Victoria Again? 12 7. Inauguration of Creative Fellowships 13 8. Applications to the Australia Council 15 9. Grants Awarded by the Performing Arts Board 15 10. Funding of Traditional Jazz by Australia Council 20 11. SIMA's Current Activities 23 12. New Information Directory in South Australia 24 13. New President for Jazz Co-ordination Association of NSW 25 14. New Festival on Gold Coast 26 15. AGM of Jazz Educators Association of NSW 27 16. ARIA Awards 28 17. The Last Straw to Perform in Canada 30 18. Corrections 31 19. Gail Brennan on James Morrison 31 20. Some American Critics on James Morrison 34 21. Series on Films on Australian Culture 36 22. 6UVS-FM: Leading the Way in Jazz Broadcasting? 36 23. 4MBS-FM Losing Jazz Content 37 24. Jazznews International Available in Australia 38 25. Horst Liepolt's Sweet Basil Program 38 26. Kiama Jazz Festival 40 1 27. Thelonious Monk International Trumpet Competition 41 28. SBS Pushes Vince Jones CD 41 29. JAS (Northern Rivers) Disperses Funds 42 30. Parkes Jazz Triduum On Again 42 31. Melbourne Improvisers Association 44 32. Videos Available at Jazz Co-ordination Office 44 33. Overseas Artists Touring 46 34. Surprise Series on ABC Television 47 35. Line of the Month 48 1. Achievements of the Jazz Co-ordination Programs. Over the last few months I've realised that, despite the acknowledged successes of the jazz co-ordination programs in various States since 1983, very few people inside and outside the jazz world are clearly aware of those achievements. Perhaps this is because jazz co-ordinators, to be most effective, need to work with key figures in the jazz world, and their activities are often buried in various networks; frequently a jazz co-ordinator's role is unclear in a particular project and, once it's off and running, how quickly people forget! Eric Myers: frequently a jazz co-ordinator's role is unclear in a particular project… In this newsletter, therefore, I'd like to emphasise achievements of the programs wherever possible, particularly those emanating from Sydney [ie the NSW and National Programs]. I hope this will encourage certain people in the jazz world to 2 develop a more positive view of jazz co-ordination. This may be of interest to those who are new to this newsletter, and I trust those who are well aware of the achievements of the jazz co-ordination programs will bear with me. If you asked me for some examples of such achievements in NSW, I would start with the following: * The Midsummer Jazz Concert, now staged at The Domain every January, as part of the Festival of Sydney, which draws an average of 60,000 people. How many people know that this resulted from a meeting which my committee member John Speight and I had with Festival of Sydney officials in early 1984? Midsummer Jazz began in 1985, enabling jazz to be included with other free outdoor events, such as Symphony Under The Stars and Opera In The Park. (Of course, I take no responsibility for the programs of recent years, which have included a number of non-jazz groups). Another shot of the first Midsummer Jazz, January 6, 1985 in the Sydney Domain, which drew 65,000 people…PHOTO CREDIT PETER SINCLAIR * The establishment of the Sydney Improvised Music Association (SIMA), which has become an effective entrepreneur and lobbyist for contemporary jazz. In fact, many would argue that SIMA has kept creative music in Sydney alive over a most difficult period, in which we have seen a serious decline in live venues, and increasing ignorance of jazz in the media. How many people know that SIMA resulted from an initiative of the jazz co-ordination program in 1984? * Very large increases since the early 1980s in the funds going from the Australia Council to jazz musicians and organisations. This is discussed in some detail in section 5 below ['Developing Jazz In Melbourne']. 3 More achievements will be listed in the next newsletter and in discussion of any activities below, I'll take the opportunity wherever possible to point out where credit is due to jazz co-ordination. One of the achievements I'm most pleased about, is the assistance given through jazz co-ordination to key musicians who are central to the art form in this country but who, for various reasons, have not had the best opportunities to advance their careers. The easiest way to illustrate this is to show how particular musicians have been assisted. So, in the next newsletter, look out for an item entitled: 'How Bernie McGann has been assisted by the Jazz Co-ordination Program'. 2. APRA Award For Paul Grabowsky The Melbourne composer Paul Grabowsky won the Australasian Performing Right Association (APRA) Award for Jazz Composer at the 7th Annual APRA Awards, presented at the Sydney Hilton on May 1, 1989. Grabowsky's composition Disappearing Shoreline, performed by the Australian Jazz Orchestra at the Sydney Opera House on Australia Day, 1988, was included on the ABC video of Bicentennial celebrations. I understand that it sold in large quantities around Australia, and effectively won the APRA award for Grabowsky. Some small credit must go to the National Jazz Co-ordination Program for Grabowsky's success, since I commissioned him, on behalf of the Australian Jazz Orchestra project, to write the piece, subject to certain specifications. Grabowsky did an extremely professional job, producing a haunting work designed to feature the four Melbourne musicians in the AJO. Paul Grabowsky: APRA Award for Jazz Composer for his composition Disappearing Shoreline, commissioned through the National Jazz Co-ordination Program…PHOTO CREDIT VERA GRABOWSKY The APRA awards were based on royalties generated by performances, both broadcast and live, which specific works received during the 1987-88 year. So, according to loggings recorded by APRA, Disappearing Shoreline was performed more than any other jazz composition in Australia in that year. 4 The other composers nominated for the Award were: John Conley for Wombat Walk, Don Burrows for Flute Salad, John Conley again for Hindsight (Tasmanian Tiger) and Johnny Nicol for Where The Love Is. ________________________________________________________ [Editor's Note: APRA inaugurated the Award for Jazz Composer in 1985, after strong lobbying by key figures in the jazz world, co-ordinated by myself. For two years previously, APRA had awards for composers in the Country, Popular, Serious [ie Classical], Film Music and Overseas Work categories, but no jazz award. The inaugural jazz award in 1985 went to Judy Bailey. Subsequent winners have been Vince Jones (1986 & 1987), John Sangster (1988) and now Paul Grabowsky.] 3. In Defence of the Australian Jazz Orchestra Mention of the Australian Jazz Orchestra (AJO) brings back memories of some of the negative things that were said about the project in 1988 by certain people in the jazz world. The AJO was administered by the Jazz Co-ordination Association of NSW and managed by Peter Brendlé Enterprises. Credit must go to those who funded the project: Philip Morris Australia, the Australian Bicentennial Authority, the Australia Council and the American Australian Bicentennial Foundation. Also, support was given in the United States by Hyatt Hotels. Let me make some comments, now that the dust has cleared. The Australian Jazz Orchestra, 1988, rear L-R, Don Burrows, Dale Barlow, Warwick Alder, Paul Grabowsky, Alan Turnbull, Gary Costello, James Morrison. Front L-R, Bernie McGann, Bob Venier, Bob Bertles, Doug de Vries… PHOTO CREDIT BRANCO GAICA 5 The AJO was highly successful in that it brought together seven musicians from Sydney and four from Melbourne in an historic collaboration, and the result was a very good band, under the circumstances. It did a tour of Australia in two stages, playing 30 concerts, and was heard by approximately 33,000 people. This does not include the three open-air performances it did for the 1988 Festival of Sydney, including the performance to about 60,000 people at the Midsummer Jazz concert at the Domain on January 3, 1988, and the Australia Day concert at the Sydney Opera House on January 26 to about 5,000 people, when segments were transmitted live around Australia on ABC Television. The tours of Australia brought in about $170,000.00 through the box office, which made possible a tour of the United States, where the AJO gave ten performances in six major American cities: Houston (three performances), Chicago, New York (three performances), Washington, San Francisco and Los Angeles. Critics who reviewed the orchestra's performances in New York, Washington and Los Angeles warmly praised the music and the musicians. [For more on this, see Eric Myers’ article “The Australian Jazz Orchestra in the United States” on this website at this link https://ericmyersjazz.com/essays. It includes quotes from various jazz critics, including those from John S Wilson of the New York Times.] Despite this success, some ideologues in the jazz world still speak about the AJO with disdain. Why should a group like the AJO have caused so much controversy? I believe that some of the critics of the AJO opposed the project merely because it included Don Burrows and James Morrison. Members of the AJO at The Basement in Sydney, back row L-R, Doug DeVries (guitar), Warwick Alder (trumpet), Bob Venier (trumpet), James Morrison (trumpet).
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