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

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'].

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.

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

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). In front, L-R, Dale Barlow (tenor sax), Don Burrows (clarinet)… PHOTO CREDIT BRANCO GAICA

Because Peter Brendlé was struck ill, I took over as tour manager and accompanied the orchestra during the last week of its existence, in a swing through Queensland [Gladstone, Townsville, Cairns, Mackay, Brisbane] witnessing the concerts before large, sell-out audiences - usually in the many hundreds, and in the case of Brisbane, audiences of over 2,000. I was struck, night after night, by the great merit of the music, and how worthwhile the project was. This was the first time that mostly original Australian jazz by many of our best composers had been presented to mass audiences around the country. If this wasn't an innovative and unusual venture in the history of Australian jazz, I would like to see one! This is not to say that the AJO didn't have its problems - the project was, in many ways, an experiment, and not everything went to plan. But the merits of the project far outweighed the negatives.

Ten Part Invention, the classic line-up, L-R, Ken James, James Greening, Steve Elphick (behind Sandy Evans), Sandy Evans, Miroslav Bukovsky, John Pochée, Bernie McGann, Warwick Alder, Bob Bertles, Roger Frampton… PHOTOGRAPHER UNKNOWN Some of the critics of the AJO insisted on seeing it as a slap in the face for John Pochée's Ten Part Invention (TPI), and took every opportunity to point out that the latter was a vastly superior group. But, in my view, it was a pointless comparison; despite a similarity of instrumentation and four common members, the AJO and TPI were always entirely different groups, with different objectives. The AJO had a schedule of paid rehearsals, and then went on the road, performing night after night, so that the music developed, and the playing became tighter.

Between March 21 and February 13, 1988, on its first Australian tour, it did 20 performances, so it was splendidly "on" when it left for the US in early April. As for TPI, I would suggest that, to build on its achievements over the last three years, it now needs to tour extensively, just as the AJO did. The critics of the AJO now should do their best to secure a similar touring itinerary for TPI during the next three years or so. That objective is something I would support, and indeed we will do as much as possible through the jazz co-ordination program to help bring it about. Perhaps the new plans for national touring foreshadowed recently by the Performing Arts Board of the Australia Council will come to be a factor in the campaign. My one regret is that the AJO never gave a good performance in Sydney. The first two Basement performances, on February 28 and 29, 1988, took place before small audiences, and the band was not in full flight. One of those performances took place when the musicians were tired, after being all day at Channel Nine for the Ray Martin Show, and the other performance went ahead under the constraints of a live taping by the ABC [broadcast on ABC-TV in the early hours of Sunday, May 15, 1988].

Melbourne bassist Geoff Kluke: he replaced Gary Costello in the AJO on June 12, 1988… PHOTOGRAPHER UNKNOWN When the band played at the Sydney Town Hall on June 13, 1988, this was the second performance for the Melbourne bassist Geoff Kluke, who had replaced Gary Costello. Kluke had joined the AJO for its Melbourne concert only the previous evening. Also, the band was tired, once again, after being all day at Channel Nine for the Ray Martin Show.

Through a mixture of circumstances, including the illness of the project manager Peter Brendlé, the Sydney Town Hall performance went ahead without a rehearsal and without the benefit of a sound check. The musicians were grumpy, and the performance was, not surprisingly, an indifferent one - I rarely heard the AJO play so badly. Under those circumstances I thought Gail Brennan wrote a surprisingly positive review, published in the Sydney Morning Herald on June 15, 1988.

Australian Jazz Orchestra project manager Peter Brendlé (left), pictured here with Ray Charles: Brendlé became ill, so Eric Myers took over as tour manager and accompanied the orchestra during its one-week swing through Queensland, taking in Gladstone, Townsville, Cairns, Mackay, Brisbane… PHOTOGRAPHER UNKNOWN

4. Australian Bicentennial Authority (ABA) Publications The ABA will be completing its 1988 activities with the publication of two books: Reviews: Bicentennial Arts Program, is a 780-page document reproducing reviews for major arts events; and A Year In The Arts is a photographic essay capturing highlights of the year. Both publications will be sent to companies and organisations who participated in the program, to Federal and State funding bodies, sponsors and major diplomatic posts overseas. A small number will be for sale through bookshops, art galleries and museums and other arts outlets.

5. Developing Jazz In Melbourne I continue to believe that if jazz musicians are going to play art music, as distinct from commercial jazz, they need to look increasingly to Govt grants under the various funding programs of the Performing Arts Board of the Australia Council. Encouraging people to apply for such funds has been a high priority in our NSW jazz co-ordination program and, indeed, there have been substantial rises in those funds from the early 1980s. The following table shows the funds which have gone to jazz in general:

Note the big rise in 1986-87 to $274,859.00, and then another big rise in 1987-88 to $378,426.00. In my view these substantial increases are the result of a wider appreciation amongst jazz musicians and organisations that the funds are available, and that they are entitled to apply for them; and the fact that the Performing Arts Board is getting much better applications from the jazz world. These developments can be credited, at least in part, to the work of the jazz co-ordinators in the various States. How have those funds been distributed State-by-State? The following table shows the amounts that have gone to individual States:

The following table identifies the percentage of total funds going to jazz State-by- State:

Note that the lion's share of these increases has gone to NSW, and only a small percentage to Victoria. Given the fact that performance opportunities for modern groups have shrunk alarmingly in Melbourne in recent times, the musicians and organisations there could well do with an injection of funds -funds like those that have done so much in Sydney since about 1985 to bolster the musicians financially, and enable them to record, compose and perform with less economic pressure. Let's face it: Victoria has been getting about the same amount of Govt money for jazz as WA and SA, where jazz activity is on a much smaller scale - an anomalous situation. I won't go fully here into the reasons why so little money has gone from the Australia Council into jazz in Melbourne. But my hunch is that, in line with a negative attitude that many Melbourne people have towards the Australia Council, very few jazz musicians and organisations over the past few years have bothered to apply for funds. Accordingly, I made it my business, during three trips to Melbourne recently, to inform Victorian musicians and organisations of the Performing Arts Board funding programs, and to encourage people to apply for funds, particularly under 'Composer Commissions', 'Recording', 'International Study Grants' and 'Performance Projects'. These are the funding programs where Sydney applicants have been very successful in recent years. I must say I was concerned at the across-the-board ignorance of the funding programs shown by Melburnians, but once they were made aware of what

11 they were entitled to apply for, and how to go about it, the response was extraordinary. The result is that, under the various programs with a closing date of April 15, 1989, the Performing Arts Board will have received a great number of excellent applications from Melbourne musicians. If all the people I assisted were able to complete their application forms - some may have found it hard going, and given up - then Melburnians would be applying for over $100,000 from the Board in this round alone. And there were to be more on May 15 & June 15. I hope that many of these applications are successful, and that this is the beginning of substantial financial support to Melbourne jazz from the Australia Council. The funds are badly needed.

6. A Jazz Co-ordinator in Victoria Again? Other than an injection of funds for particular projects, the other great need in Victoria is for the re-establishment of the position of Victorian Jazz Co-ordinator. Here, we are indebted to an initiative taken by enthusiasts grouped around Sigmund Jorgensen, administrator of the unique artists colony and cultural centre Montsalvat, situated on the outskirts of Melbourne. At the Montsalvat Jazz Festival over the last Australia Day weekend, a forum chaired by Mr Jorgensen was held, where the participants agreed that re-establishing the position of Vic Jazz Co-ordinator was a high priority.

Sigmund Jorgensen, administrator of the unique artists colony and cultural centre Montsalvat, situated on the outskirts of Melbourne… PHOTOGRAPHER UNKNOWN

I didn't make the initial meeting on January 28, but I did attend the next two meetings at Montsalvat on March 5, and at the Limerick Arms Hotel on April 17. I was delighted to see that the major interests in the jazz community were all in attendance, and that an excellent committee, reflecting those interests, was elected to lay the basis for a jazz co-ordination program. The new Vic Jazz Co-ordination Advisory Committee is as follows: Alex Hutchinson [jazz musician-Chairperson] Marge Burke [Victorian Jazz Club] Rae Sedergreen [Melbourne Jazz Co-operative] Lee McIver [Melbourne Improvisers Association] Don Schober [Peninsula Jazz Club] Roger Beilby [jazz broadcaster] Allan Browne [jazz musician] Bob Sedergreen [jazz musician & educator] Allan Leake [jazz musician & entrepreneur] Martin Jackson [jazz entrepreneur] Adrian Jackson [jazz journalist] Mike Hancock [jazz entrepreneur]

The committee is now meeting to analyse the problem-areas of Victorian jazz, and to draft a program of activities for a Vic Jazz Co-ordinator in 1990. I'm confident that the Australia Council will receive a very good submission for funds on June 15 next. If Victoria can get an injection of Govt funds under the normal programs of the Performing Arts Board, plus a Jazz Co-ordinator (hopefully with funds from the Victorian Ministry for the Arts as well) this will give Victorians their first hope for some years in developing the music and reviving jazz activity.

7. Inauguration of Creative Fellowships

Paul Keating: Creative Fellowships for seven Australian artists…. PHOTOGRAPHER UNKNOWN Treasurer Paul Keating recently announced the awarding of Creative Fellowships to seven Australian artists. They're each worth $50,000.00 a year for a minimum of four years.

The first recipients are: * Jack Davis [playwright & poet] * Richard Meale [composer] * Frank Moorhouse [author] * Les Murray [poet] * Geoffrey Tozer [pianist] * Ken Unsworth [visual artist] * Garth Welch [choreographer & dancer]

Announcing the awards, Mr Keating said: "This is a scheme for people who are already accomplished in mid-career but who have to forsake what they're really interested in and go and do something mundane to earn enough to stay alive. It's a scheme designed to support, at the most, 20 people who are of international calibre living in Australia". This scheme will cost the Australian Govt $1.01 million by the time it is fully operational in 1992, and operates at arm's length from the Australia Council, even though the seven-member fellowship advisory panel is headed by the Chair of the Australia Council, Donald Horne. Other than Professor Horne, the panel consists of: * Tony Bishop [acting head of the SA School of Art] * Betty Churcher [director, Art Gallery of WA] * Kelvin Coe [teacher, Australian Ballet School] * Reuben Fineberg [executive producer, concerts, Michael Edgley] * Ross Gengos [managing director, Abels Records] * Mary Valentine [general manager, Sydney Symphony Orchestra]

I have one query: how long will it be before this distinguished panel recommends a jazz musician or composer for such a fellowship? Dr Richard Letts, executive director of the Australian Music Centre, and former director of the Music Board of the Australia Council, published an excellent article in the Sydney Morning Herald on May 19, 1989, commenting on Mr Keating's fellowships.

Richard Letts: you cannot have a viable national artistic life which depends upon the achievements of only 20 people...PHOTO CREDIT PETER SINCLAIR

While Dr Letts welcomed Mr Keating's initiative, he made some pertinent observations: "You cannot have a viable national artistic life which depends upon the achievements of only 20 people..." he wrote. "When Richard Meale uses his fellowship to write an opera or orchestral or chamber work, there must be someone to perform it. When Richard's life is completed, other, younger composers must have arisen to take the tradition forward... "Mr Keating's personal recognition of the situation of a small group of artists is very welcome. What is needed now is an extension of that consciousness to cover the whole of the circumstances of our artistic life. A decision should be made about the proper base level of Federal funding to the arts through the Australia Council and other entities. That base level should be implemented by this Government."

8. Applications to the Australia Council The May 15 closing date for applications to the Performing Arts Board of the Australia Council for grants for 1990 has just passed. It involved applications for 'National Performing Arts Service Organisations', 'Performance Annual Grants', and 'International Touring'. Closing date for the next round is June 15, involving the following programs:

For further information, contact the Australia Council on (02) 923 3333 or toll-free (008) 22 6912. Any applicant from the jazz area is welcome to contact me on (02) 212 1510 for advice and assistance.

9. Grants Awarded Recently by the Performing Arts Board In March, 1989, the Board announced the awarding of grants under the following funding programs: Composer Commissions, Composer In Residence, Recording, Publishing, Community & Regional Music Co-ordination, Visiting Teachers/Music Camps, Innovative Projects, and Improvement of Arts Management. Successful applicants from the jazz area were as follows: [As usual, I have listed all successful applicants or beneficiaries who have a demonstrated association with Australian jazz.] Composer Commissions * Tony Esterman received two grants [$343.00 and $177.00] to commission Bernie McGann to write two pieces for The Last Straw (NSW);

Tony Esterman (far left) received two grants to commission Bernie McGann (far right) to write two compositions for this quintet, The Last Straw. Others, L-R, include Lloyd Swanton, leader John Pochée & Ken James… PHOTOGRAPHER UNKNOWN * The Original Otto Orchestra received $2,213.00 to commission Peter Dasent to compose a saxophone quartet (NSW); * Ian Shanahan received $1,820.00 for Bruce Cale to compose a work for solo recorder (NSW); * Andrew Speight received two grants [$368.00 & $221.00] to commission Mike Nock to write two pieces for Now's The Time (NSW);

An early shot of alto saxophonist Andrew Speight, performing here at the Manly Jazz Festival in the mid-80s with James Morrison: successful in receiving four grants… PHOTO CREDIT HARDY ALHAUS

* Andrew Speight received two grants [$295.00 & $368.00] to commission Jonathan Zwartz to write two pieces for Now's The Time (NSW); * Synergy received $1,106.00 to commission Phil Treloar to compose a work for percussion quartet (NSW); * Darcy Wright received two grants [$737.00 & $442.00] to commission Col Loughnan to write two pieces for the group Gin Bottle Six (NSW).

Bassist Darcy Wright: two grants to commission composer Col Loughnan…PHOTO COURTESY DAVID MARTIN The total amount approved for 'Composer Commissions' was $216,784.00 and 79 grants were made. The grants I have just identified total $8,090.00. This compares with a total of $4,878.00 in the last round of 'Composer Commissions', announced in August, 1988, but falls far short of the high of $43,637.00 which went to jazz composers in the May 1988 round. Recording * Keith Hounslow received $3,000.00 for mastertape of Once Again by Keith Hounslow & The Jazzmakers (NSW); * Steve Hunter received $3,000.00 for mastertape of album & cassette of Homebase, feat. Steve Hunter & artists (NSW);

Steve Hunter: $3,000 for album & cassette of Homebase…PHOTO COURTESY AUSTRALIAN JAZZ REAL BOOK * Musikkii Oy received $3,000.00 to record a mastertape This Is Musikkii Oy (Vic); * Ken Schroder received $3,000.00 to record a mastertape of Cheeky by Ken Schroder Quintet (Vic); * Stephen Sedergreen received $3,000.00 for album Bits & Pieces feat. Mistaken Identity (Vic):

Melbourne’s Stephen Sedergreen: $3,000.00 for Mistaken Identity album Bits & Pieces… PHOTO CREDIT LAKI SIDERIS * Spiral Scratch received $3,000.00 for manufacture/ marketing of album feat. Paul Grabowsky Trio (NSW);

A total of $65,090.00 was approved for 'Recording' (22 grants). Jazz applicants received six of those grants, ie $18,000.00 of the available $65,090.00, or 28% of the available funds. This compares to $35,083.00 received in the August 1988 round, and $34,826.00 in the May 1988 round. Visiting Teacher/Music Camps * Kaleidoscope Community Arts Company received $1,400.00 to bring John Hoffman to Tasmania in 1989 (Tas); Innovative Projects * Shere Delys received $9,482.00 for the development of an audio-visual work for live performance (NSW); * Kinetic Energy Performing Arts Co received $2,000.00 for music/dance collaboration with musicians Don Reid and Alister Spence (NSW); * Perth Jazz Society received $5,000.00 for performance of original jazz composition at WA Festival, June 1989 (WA); * Sweet Atmosphere received $3,000.00 for tour to Western NSW (NSW).

Sweet Atmosphere, L-R, Don Heap, George Washingmachine, Pat Wade, Ian Date: $3,000 for a tour to Western NSW… PHOTOGRAPHER UNKNOWN In this category, 26 grants were approved, with a total of $164,424.00. Jazz applicants received a total of $19,482.00, or about 12% of the available funds. There were no grants to jazz under the following funding programs: Composer In Residence and Publishing. In the Community & Regional Music Co-ordination program, however, one might expect that some of the co-ordination programs in provincial areas would have some involvement with jazz.

[NB. Anyone who would like a full list of grants awarded is advised to write to Judie Don, Records Officer, Performing Arts Unit, Australia Council, PO Box 302, North Sydney NSW 2059, or ring her on (02) 923 3358 or the toll-free number (008) 22 6912.]

10. Funding of Traditional Jazz By The Australia Council. Peter Newton, Vice-President of the Sydney Jazz Club and editor of the Club's monthly newsletter, refers in the March 1989 newsletter to the term "cutting edge", which the Australia Council - according to popular belief - has adopted as a benchmark for making grants to jazz applicants. Mr Newton speaks of "the bias against making grants to performers in the traditional jazz field. In the rare event that a traditional jazz club, performer or band does receive a grant it is the exception and not the rule."

Peter J F Newton, Vice-President of the Sydney Jazz Club: he has spoken of the bias against making grants to performers in the traditional jazz field… PHOTOGRAPHER UNKNOWN Mr Newton says "it surely is time that the Australian traditional jazz world had someone on the Performing Arts Board and on its various panels to ensure the fair distribution of public monies across the whole spectrum of jazz. If that is not appropriate, then perhaps it is time to call for a public inquiry as was mooted for other sections of the Australia Council." Let me say first of all that the Jazz Co-ordination Association of NSW has written to Clyde Holding, Minister for the Arts & Territories, nominating two persons for membership of the Performing Arts Board. One of those nominees, Bruce Johnson - now probably best-known as the author of the Oxford Companion to Australian Jazz - has excellent credentials to represent the interests of traditional jazz, where he has long been active as a performer, as well as the interests of jazz itself. I'm sure traditionalists around Australia, as well as modernists, would applaud his

20 appointment, if it were made by the minister. Our other nominee, for the record, is Ted Nettelbeck, the modern pianist who is resident in Adelaide. He also has excellent credentials for such an appointment.

Our two nominees for membership of the Australia Council’s Performing Arts Board: Sydney’s Bruce Johnson (above) and Adelaide’s Ted Nettelbeck (below)…JOHNSON PHOTO CREDIT PETER SINCLAIR, NETTELBECK PHOTO COURTESY OXFORD COMOPANION TO AUSTRALIAN JAZZ

The perception in Sydney traditional jazz circles that their style of jazz doesn't get a fair go from the Australia Council is shared elsewhere, particularly by key jazz figures in Melbourne, Hobart and Perth. Let me contribute to the debate by making the following comments: (a) It is important that traditionalists know exactly what the Australia Council has said about the so-called "cutting edge". Some people have been quoting the words out of context. In the Music Board Medium Range Plan 1985-1989, published by the Australia Council in February, 1986, the Board had this to say: "Selection of jazz ensembles or entrepreneurs for assistance depends in part on assessment of the quality and originality of the music. This must be judged in its local

21 context. What is innovative in one city may be commonplace in another, or in yet another may be beyond the comprehension of an audience accustomed only to traditional styles. Any development program must be conscious of its starting point. The Board will support traditional jazz in a city where there is little appreciation of jazz, but will not support it in a city where commercial presentation of traditional jazz is commonplace. In the latter, the Board will be looking to support jazz at the cutting edge." So, the Board indicates that it will fund traditional jazz ventures; but those ventures need to be in locations where appreciation of jazz is not widespread, rather than in centres where traditional jazz can be heard night after night. (b) Despite what the Australia Council has said about the "cutting edge", the Council has, in fact, funded many traditional jazz projects over the past ten years, not to mention many projects that benefit traditional jazz as much as any other jazz style. For a list of grants awarded to projects that have benefited traditional jazz, see the attachment at the end of this newsletter. (c) In most capital cities of Australia, and in many provincial areas, traditional jazz has shown that it can produce strong, self-sufficient organisations and present commercially successful music. Indeed, such organisations pride themselves on their self-sufficiency, and point to the lack of independence of societies concerned with modern and contemporary jazz. In other words, many traditional jazz projects may not need Govt support. Under these circumstances, it is not surprising that the Australia Council has intimated that funding modern jazz is a higher priority than traditional jazz. Traditional jazz people are fond of describing this as a "bias" on the part of the Australia Council. But there is a good argument to the effect that the Council exercises, not a bias, but a legitimate priority, given the reality of jazz performance in this country. Still, I do feel that an approach should be made to the Australia Council to clarify whether an injustice exists. Many would argue that, if the Council subsidises performances of baroque music, and supports orchestras that primarily present Beethoven & Mozart, or opera companies that present primarily 19th Century operas - classical music which can hardly be described as being at the "cutting edge" - then, to be consistent, it should have no objection to funding traditional jazz. At the moment, I am researching the history of applications to the Australia Council from traditional jazz organisations and musicians over the past ten years, to see what the facts are. Have many such applications been turned down by the Council? Is it the case that, despite the level of resentment felt in traditional jazz circles, applications have not been made to the Council in significant numbers? If you know of any applications made by musicians or organisations from the traditional jazz area, which have been rejected by the Australia Council over the past ten years, I'd be glad if you could ring me and provide me with the details. Phone (02) 212 1510.

11. SIMA's Current Activities 11.1. Solo Piano Concert Series The Sydney Improvised Music Association (SIMA), is about to complete its first major activity for 1989: a series entitled One - four concerts of contemporary improvised piano music stylistically spanning modern jazz to free improvisation. Each concert has been at the Old Darlington School, in the grounds of the University of Sydney, commencing at 5.30 pm. The program has been as follows: Friday May 5: Mike Nock/Jann Rutherford Friday May 12: Judy Bailey/Serge Ermoll Friday May 19: Dave MacRae/Tony Gould Friday May 26: Jamie Fielding/Dave Levy

Pianist Jann Rutherford: opening the SIMA series om May 5, in the company of Mike Nock…PHOTO CREDIT JOE GLAYSHER

Admission is $7 (with $5 concession to students or SIMA members). 11.2. Music On The Edge - A Celebration of Improvisation SIMA will present four concerts at the Crossroads Theatre, Upper Forbes St, Darlinghurst (near William St) on June 7,8,9 & 10, described as "a kaleidoscope of free improvisation, avant-garde jazz and sound sculpture". The program is as follows: Wednesday June 7: Keith Hounslow & Roger Frampton; Richard Ratajczak; Mind/Body Split Thursday June 8: Jim Denley & Kimmo Vennonen; Greg Sheehan; Louis Burdett & Jan Evans Friday June 9: Simone de Haan & Daryl Pratt; Roger Dean; Eddie Bronson, Tony Buck & Steve Elphick Saturday June 10: Brett Nancarrow & Nicholas Wishart; Jeff Pressing; Serge Ermoll & Louis Burdett

Pianist Serge Ermoll: featured in both SIMA series on May 12 & June 10… PHOTO CREDIT PETER SINCLAIR

All concerts start at 8 pm. Tickets are $13 and $10 concession for each concert. A ticket for the four concerts costs $40. For further information ring Jane March on (02) 938 2180.

12. Jazz Information Directory in South Australia The SA Jazz Co-ordinator Peter Thurmer has launched the second edition of the Jazz Information Directory South Australia. This invaluable manual has information under the following categories: * Jazz Highlights Line; * Performers; * Jazz Societies; * Jazz In The Media; * Venues; * Jazz in Festivals; * Record & Book Shops; * Education; * Regional Cultural Centre Trusts; * Grant Applications; * Reference Books, Composers, Arrangers, Current Record & Tape Releases.

In his introduction, Peter Thurmer writes: "It is hoped that this Directory will help, in some modest degree, performers, hotel and club managers, music educators, the media, jazz clubs, and jazz devotees with information concerning jazz activities in South Australia." Those wishing to obtain a copy of the Directory should write to Peter Thurmer c/- the following address: SA Jazz Co-ordinator, SA College of Advanced Education, 46 Kintore Avenue, Adelaide SA 5000, or phone (08) 228 1755.

13. New President for Jazz Co-ordination Association of NSW At its meeting on May 15, 1989, the committee of the Jazz Co-ordination Association drafted Dr A J B (Bruce) Johnson into the Presidency of the Association. Bruce succeeds Peter Newton, a founding committee member in early 1984, who served as Acting President following the resignation of Alan Nash in late 1987, but resigned shortly after his elevation to the Presidency in September, 1988.

Bruce Johnson, new President of the Jazz Co-ordination Association of NSW… PHOTO CREDIT PETER SINCLAIR Originally from Adelaide, Bruce Johnson is a well-known Sydney jazz broadcaster & scholar, author of the magnificent reference work The Oxford Companion to Australian Jazz, and an active jazz trumpeter who leads his own group at the Soup Plus restaurant in Sydney, and is a long-time colleague of Paul Furniss in the group Eclipse Alley Five. The other members of the NSW Committee are: *Vice-President Peter Rechniewski [President, Sydney Improvised Music Association] *Treasurer David Stevens [financial expert, and active jazz pianist] *Judy Bailey [professional jazz musician & composer; lecturer, NSW State Conservatorium of Music; and committee member, Jazz Educators Association of NSW] *Ron Philpott [professional jazz musician & composer; lecturer, NSW State Conservatorium of Music; and Treasurer, Jazz Educators Association of NSW] *Kevin Casey [jazz broadcaster; and former committee member, Jazz Action Society of NSW] *Dennis Koks [President, Kiama Jazz Committee] *John Pochée [professional jazz musician; and committee member, Musicians Union of Australia (Sydney Branch)] *Peter Dasent [professional jazz musician & composer].

Two members of the JCA of NSW Committee, Judy Bailey (left) and Ron Philpott (right) in performance…PHOTO CREDIT GORDON CLARKE

Two committee members have recently sought leave of absence: Jonathan Zwartz [professional jazz musician & composer] has left for New York on an Australia Council International Study Grant; and Sue Bluck [professional jazz musician & vocalist] is shortly to return to Perth, her home town, for a period of R & R. Replacements representing major jazz interests will be sought for Sue and Jonathan while they're out of Sydney. We believe that this committee is well-balanced, and as representative of the Sydney jazz community as we can make it, with Dennis Koks representing the country jazz societies. As such, it is an appropriate committee of management for the NSW jazz co-ordination program. 14. New Festival on the Gold Coast On July 1 & 2, 1989, the inaugural Gold Coast Jazz & Blues Festival will be held at the Gold Coast International Hotel. Four venues will be involved. Organised by Dr Jazz Enterprises [ie the Brisbane promoter Mileham Hayes] the festival will feature the following artists: * Vince Jones Band * James Morrison * Pardon Me Boys * Kate Ceberano & Her Band

* Don Burrows & George Golla * Bob Barnard * Ade Monsbourgh * Len Barnard * George Washingmachine & Ian Date * Dr Jazz Big Band * Su Cruickshank * Delilah * Wilbur Wilde * Bob Havens ...and many, many more.

Mileham Hayes on clarinet: his Dr Jazz Enterprises programmed the inaugural Gold Coast Jazz & Blues Festival…PHOTO COURTESY JAZZ MAGAZINE

Enquiries to Gold Coast International Hotel, PO Box 976, Surfers Paradise Qld 4217, or phone Toni Atkinson on (075) 921 200 ext. 149.

15. AGM of Jazz Educators Association of NSW The AGM was held on Tuesday, April 14, at the Musicians Club, Sydney, principally to elect a new executive committee. The results of the election were as follows: Andrew Speight [President] Linda Berry [Vice-President] John Hallgren [Secretary] Ron Philpott [Treasurer] Roger Frampton [Committee Member] Judy Bailey [Committee Member] Angela Burkett [Committee member]

Andrew Speight: President of the Jazz Educators Association of NSW… PHOTOGRAPHER UNKNOWN Those who wish to contact the Jazz Educators Association of NSW Inc. for information on its activities, please phone the Secretary John Hallgren on (02) 412 2024. 16. Australian Record Industry Association (ARIA) Awards The winner of the ARIA Award for 'Best Australian Jazz Record' was Original Soundtrack by the group Wizards of Oz [Dale Barlow (saxophones), Paul Grabowsky (piano), Lloyd Swanton (bass), Tony Buck (drums)]. This was announced at the Awards night on Monday, March 6, 1989. I was delighted at this award, as it represents a positive outcome for an initiative of the jazz co-ordination program in NSW. When David Hayes of Hayes-Armstrong & Associates consulted me in early 1987 about recording modern jazz groups, I recommended that he record the Wizards, along with three other groups. Mr Hayes also took up my suggestion that he apply to the Performing Arts Board of the

Australia Council under the 'Recording' program for assistance with the costs involved. He went on to receive $12,000.00 from the Performing Arts Board for the four mastertapes.

The Wizards of Oz, L-R, Paul Grabowsky, Lloyd Swantron, Dale Barlow, Tony Buck: a positive outcome for an initiative of the jazz co-ordination program in NSW… PHOTOGRAPHER UNKNOWN The four groups [The Wizards of Oz, The Last Straw, Mark Simmonds Freeboppers and the Mike Nock Electric Band] were recorded. As it transpired, the bandleaders of the last two bands were unhappy with the results of the sessions, so those two mastertapes will probably sink without trace.

The Last Straw, L-R, Bernie McGann, Ken James, John Pochée, Tony Esterman, Lloyd Swanton: in full cry this quintet is one of the glories of Australian music… PHOTOGRAPHER UNKNOWN However, the sessions done by The Wizards of Oz and The Last Straw had excellent results. The Wizards LP Original Soundtrack was released through Polygram and it has been an artistic success, even if its sales are not in mega-figures in Australia. But I'm told that it has sold in large quantities in several overseas countries. The Last Straw mastertape is an excellent effort, documenting the fine work of Ken James (tenor saxophone), Bernie McGann (alto saxophone), Tony Esterman (piano), Lloyd Swanton (bass) and John Pochée (drums). Pochée, the leader of The Straw, has declared himself happy with it, and would like to see it released. So, let's hope that an LP sees the light of day in the near future. As Gail Brennan said in the SMH [August 8, 1987]: "The Last Straw in full cry is one of the glories of Australian music". They really should have had an LP available years ago. 17. The Last Straw To Perform In Canada. Speaking of The Straw, they will be performing at the Montreal International Jazz Festival in early July, 1989. This comes about because Montreal accepted the quintet Paul Grabowsky Music - this was to be part of the Grabowsky overseas tour, funded by a $20,000.00 'International Touring' grant from the Australia Council - but Grabowsky's band was unable to leave Australia before July 20, after the Montreal Festival. The Montreal Festival has a deal with Canadian Airlines, so tried to entice Grabowsky with an offer of five round-trip airfares Sydney-Montreal-Sydney. It was a pity to pass up this opportunity for an Australian group to appear at a major overseas festival, so I recommended to Musica Viva that The Last Straw make the trip. It was they, after all, who tied with Paul Grabowsky Music in the National Jazz Co-ordination Advisory Committee assessment which Grabowsky won in a count- back.

18. Corrections. 18.1. Jazz At The Town Hall. In my last newsletter I mentioned jazz events coming up at the Sydney Town Hall. However, I failed to articulate that these events - the John Hoffman Big Band on June 28, 1989, and 'A Night of Jazz Singers' on July 20, 1989 - were co-presented by the Sydney City Council. The Sydney City Council contributes a substantial budget for artists fees, and takes responsibility for booking and hiring the Sydney Town Hall and facilities, newspaper advertising, the provision of advertising posters and handbills, the provision of bar facilities, the stage dressing, the provision of Town Hall attendance, and contact with the media. For further information, contact Entertainment Officer Stuart Barnes at the Sydney City Council on (02) 265 9547.

19. Gail Brennan On James Morrison In my last newsletter I commented on Gail Brennan's criticisms of James Morrison, which have been published in the Sydney Morning Herald. I suggested that Brennan and others, offended by the hype that has been put about on James Morrison by gullible and ignorant journalists' ie his being described day-in, day-out as a 'jazz genius' and 'jazz supremo', have over-reacted. I posed the possibility that Brennan, 'despite the perceptiveness of his jazz criticism, has a blind spot when it comes to commercially successful jazz musicians like James Morrison'.

Gail Brennan (AKA John Clare): criticisms of James Morrison, which have been published in the Sydney Morning Herald… PHOTO CREDIT JAMES ALCOCK

The following is a slightly edited version of Gail Brennan's reply: "That the use of the word vulgar in relation to James Morrison should occasion any comment at all makes me think that jazz cocktail partiers have no time to study the masterpieces of Rex Stewart, Lee Morgan, Dizzy Gillespie and others.

James Morrison: according to Brennan, his playing is often a vulgar display… PHOTO CREDIT PETER SINCLAIR "My main criticism of Morrison is that his playing is often a vulgar display. Rattling off arpeggios and screaming high notes are all valid elements when combined musically. Of themselves they can be quite meaningless. Morrison's playing in a swing style has far more shape - and indeed, style - than his bop, but seems often superficial to me, compared to Tom Baker's. Warwick Alder demonstrates, with increasing consistency, that it is still possible to find melodic beauty and rhythmic variety in the language of bop. Morrison, to my ears, all too often grinds out chromatic tedium at high speed, enlivened by various tricks that are not particularly impressive compared to the American specialists in this area, nor even compared to the ease and accuracy of local Paul Panichi.

Warwick Alder: he demonstrates that it is still possible to find melodic beauty and rhythmic variety in the language of bop…PHOTO CREDIT KAREN STEAINS

"In everything Morrison does there is an indication that he could be very good if he weren't in such a hurry to pick up another instrument or demonstrate stylistic versatility. "This is harsh and rather comprehensive criticism. I have absolutely no rancour towards him personally, no envy whatsoever of his lifestyle (mine suits me much better) or his possessions (I own a Miles Davis original, while James must make do with Ken Done). That his wife was a beauty queen is news to me. When I met her she seemed far too warm and attractive to have been one of those. The truth is that I would pay him little attention if he had not been billed as jazz genius. This billing reinforces the widespread belief that genius in jazz has nothing to do with melodic creation or deep emotional expression of any kind but designates a macho techno- crazed 'impressiveness'. "That Clark Terry and George Benson have welcomed Morrison on to the stand means nothing to me. Both are brilliant musicians. Terry had a period of significant creativity in the 1940s, and again in the 1950s when he played with Duke Ellington, Thelonious Monk and others. His work on the tired stuntman circuit of the American As Baseball festivals is something I don't mind hearing once a year. Benson is a very middle-of-the-road act. Morrison fits in there very well. Besides, he has a very good American agent. I do not blame these musicians or Morrison for surviving as best they can, but my charter is to appraise the music.

Clark Terry: he had a period of significant creativity in the 1940s, and again in the 1950s when he played with Duke Ellington… PHOTOGRAPHER UNKNOWN "Several top American musicians, who are fortunate enough to be able to continue playing in a more creative context, have summed Morrison up in very similar terms to mine. 'He's too busy playing to play', was the comment of one renowned drummer. This was said quite openly to a number of people, but as it was not part of an interview I'll leave his name out of it. On the other hand, Dewey Redman admired

Morrison's multi-instrumental ability, and said, 'He'll be alright when he settles down'. "I once heard Morrison play very beautifully on the tenor horn. It got no reaction from the buffs. When he reverted to a meaningless alternation between trumpet and trombone they went orangutang. I suspect that that is where the jazz cocktail party circuit is at, and their concerns are not mine. I am concerned, however, about any implication that I am influenced by anything but my ears. "Perhaps I am partly to blame. I have poked fun at Morrison's vulgar, and no doubt innocent display of expensive toys. Who could resist? The fact remains, though, that if Morrison lived in a monastery his music would still sound, by and large, immature to me. I do hold out great hopes that Morrison's undoubted potential might be put to musical use on his forthcoming album with Al Foster and company. If that is the case, I will say so quite loudly."

[Editor's Note: The LP, entitled Swiss Encounter will be released in Australia and the US in July, 1989. The session is led by Morrison and the Czech pianist Adam Makowicz, and they are accompanied by the Americans Buster Williams (bass) and Al Foster (drums). It was recorded live at the Montreux Jazz Festival in July, 1988.]

20. Some American Critics on James Morrison If I said that James Morrison symbolised the new wave in acoustic jazz; that he had reinvented the baritone horn and the euphonium for jazz; and that his achievements on trombone went beyond the achievements of the German Albert Mangelsdorff, would you take me seriously? Maybe not. But these are among the things that have been said about Morrison by certain American critics. Details follow. Leonard Feather writes: "...Morrison already has provided, for many audiences in this country, a fascinating example of how a young musician can become, in his

34 opinions as well as his performance, a symbol of the new wave in acoustic jazz." [Los Angeles Times, September 18, 1988]

Jazz critic Leonard Feather: James Morrison has become a symbol of the new wave in acoustic jazz… PHOTOGRAPHER UNKNOWN Feather has also written, of James Morrison's performance at the 1987 Dick Gibson Jazz Party, Denver, Colorado: "Morrison's multiphonics on trombone proved particularly impressive, perhaps even going beyond the achievements of Albert Mangelsdorff". [Down Beat, December, 1987] Larry Kart writes, of Morrison's performance at the Chicago Jazz Showcase with the Red Rodney Quintet: "On trombone, while he is no less agile [than he is on trumpet], Morrison also can be mellow and ruminative. And on baritone horn and euphonium - well, he appears to have virtually re-invented these marching-band stalwarts, bringing them fully to life in jazz terms." [Chicago Tribune, Wednesday, August 12, 1987] Isn't Larry Kart's claim of the same order as the claim made for Errol Buddle in the US in the 1950s, which we now all accept: that he 're-invented' the bassoon, by bringing it into jazz? (A claim, incidentally, made by Leonard Feather himself.) Now, these critics may not know what they're talking about. Or, it may be that less flattering reviews of Morrison exist in the American press, but haven't found their way to my desk. But I think that, on the basis of this evidence, one would have to concede that American critics are making laudatory claims about what James Morrison has to offer as a jazz musician. The major point I was making in my last newsletter - which may have been misunderstood by some - is that the Australian critics of James Morrison would have their case immensely strengthened if they could produce evidence that the American critics - those who, it was always said, would expose Morrison's playing as shallow and immature whenever he made the move to the US - were just as unimpressed.

However, the evidence I've seen suggests the opposite: not only are they highly impressed by Morrison, but they are claiming, moreover, that he is bringing something original into jazz. This in turn confirms my view that certain Australian critics have been over-reacting.

21. Series of Films on Australian Culture I hear along the grapevine that an independent production company is preparing a six-part series of films on Australians who are leading figures in the arts in this country. The subjects are as follows: Thomas Keneally (Literature) Graeme Murphy (Dance) Joan Carden (Opera) Brett Whitely (Art) Peter Sculthorpe (Classical Music) James Morrison (Jazz)

James Morrison: included in a six-part series of films on Australians who are leading figures in the arts in this country… PHOTOGRAPHER UNKNOWN This series is being put together by Don Featherstone Productions. Don Featherstone is an Australian filmmaker who has been working internationally for some years.

22. 6UVS-FM: Leading The Way In Jazz Broadcasting? [The following material comes courtesy of the WA Jazz Co-ordinator, Garry Lee.] This community radio station, broadcasting from the campus of the University of WA, is currently claiming it presents more jazz than any other radio station in Australia. It presents nine-and-a-half hours weekly of specific jazz programs, with a further two-hour program Black & Blue that presents black artists from Robert Johnson to Ray Charles & Albert Ayler. The 6UVS-FM programs are as follows:

L-R, Steve Robertson, Don Mead & Garry Lee… PHOTOGRAPHER UNKNOWN * The Best Of Jazz: Saturdays, 11 am-1 pm. Music from all eras. * Contemporary Jazz: Mondays, 7-9 pm. Presented on alternate weeks by David Walton and Martin Bender. * FM Jazz-The Swinging Years: Wednesdays, 9-11 pm. Presented alternate weeks by Kevin Controy and Sid Marsh. * Giant Steps: Wednesdays, 11 pm-1 am. Presented by Garry Lee. Mostly latest recordings with a special emphasis on Australian content. * Hear Me Talking To Ya: Saturdays, 9.30-11 am. Presented by John Green. Purely Australian jazz with as much WA content as possible. Includes interviews with local and visiting artists. Garry Lee has assisted with interviews with Paul Grabowsky, Dale Barlow, Peter Rechniewski, Jon Faddis, Courtney Pine and George Cables. John Green would be interested in receiving reel-to-reel or vinyl recordings of any jazz style by Australian artists.

23. 4MBS-FM Losing Jazz Content Meanwhile, in Brisbane: some bad news. From May 1, 1989, jazz and blues will have a reduced presence on 4MBS-FM - from 16.5 hours a week [14.5 hours before midnight] to 14.5 hours a week [10.5 hours before midnight]. Jazz will come down from 12.6% of total programming to 8.2% - a substantial cut. I'm told that the jazz broadcasters at the station were not even consulted. A decision merely was handed down from the 4MBS-FM Board, in a spirit of 'take-it-or-leave- it'. At time of writing, the jazz broadcasters were fighting back!

*Editor's Note: It would be interesting to know which radio station in Australia broadcasts most jazz. 6UVS-FM's efforts seem roughly comparable to those of Sydney's 2MBS-FM, where there are nine regular one-hour jazz programs, plus the 2-hour blues program Stormy Monday.

24. Jazznews International Available In Australia Jazznews International, an excellent jazz magazine published in Dublin, Ireland, is now on sale in Australia. Jazz fans should ask for it at a main newsagent, and if they have not stocked it, contact Kevin Lamech or Joan Green at Gordon & Gotch, PO Box 29, Burwood Vic 3125. Tel: (03) 285 1700. The Australian correspondent for Jazznews International, by the way, is Jenny Sheard, the Sydney pianist/vocalist.

Jenny Sheard, Australian correspondent for Jazznews International, is pictured here with the other two members of her trio, drummer Jack Savage & bassist Lloyd Swanton… PHOTOGRAPHER UNKNOWN

25. Current Program at Sweet Basil, New York The current program, devised by Australian expatriate Horst Liepolt, at this New York jazz club, is as follows: May 16-21 & 23-38 McCOY TYNER, with Avery Sharpe, Aaaron Scott May 30-June 4 ART BLAKEY & THE JAZZ MESSENGERS

From left, David Murray, Ed Blackwell, Butch Morris, Horst Liepolt and Amiri Baraka at Sweet Basil, New York, during the 1984 Music Is An Open Sky festival… PHOTO CREDIT ALICE SU COURTESY JAZZ MAGAZINE

June 6-11 June 13-18 June 20-25 & 27- CEDAR WALTON, RON CARTER, BILLY July 2 HIGGINS MAL WALDRON QUINTET, Sonny Fortune, Ricky Ford, Reggie Workman, Eddie Moore DON CHERRY - ART DECO - James Clay, Charlie Haden, Edward Blackwell July 4-9 RICHARD DAVIS & FRIENDS, Sir Roland Hanna, Ricky Ford, Cecil Bridgewater, Frederick Waits July 11-16 & 18-23 ART FARMER QUINTET, feat. Clifford Jordan July 25-30 & TOMMY FLANAGAN TRIO, George Mraz, August 1-6 Kenny Washington Every Monday night Sweet Basil features the Music of Gil Evans, with the big band directed by Gil's son Miles Evans. Sweet Basil also features jazz brunches on Saturday and Sunday afternoons, with the Eddie Chamblee Quartet resident every Saturday afternoon from 2-6 pm, and the legendary trumpeter Doc Cheatham resident every Sunday from 3-7 pm. Sweet Basil is in Greenwich Village, at 88 Seventh Avenue, New York, phone (212) 242 1785.

26. Kiama Jazz Festival When I issued my last newsletter I hadn't received any promotional material on the Kiama Jazz Festival, which took place on April 7,8 & 9, 1989. Accordingly, I failed to mention it. Dennis Koks, of the Kiama Jazz Committee, tells me that the festival went particularly well; in fact, the organisers were elated with the response.

Kiama’s Dennis Koks: the second Kiama Jazz Festival went particularly well… PHOTOGRAPHER UNKNOWN About 900 people attended the April 7 concert at the Kiama Leisure Centre, which featured Don Burrows, Julian Lee, George Golla, Craig Scott, David Jones & Kerrie Biddell. About 600 people attended the Jazz Mass on April 9, which featured the music of the composer John Colborne-Veel.

The Jazz Mass on April 9 featured the music of the composer John Colborne-Veel (above)... PHOTO CREDIT JANE MARCH Even some unsettled weather for the outdoor festival on Saturday April 8 did not dampen anyone's enthusiasm. The local business houses in Kiama were very supportive, says Mr Koks, and everyone is already looking forward to the third festival in 1990.

27. Thelonious Monk International Jazz Trumpet Competition Students of Australian jazz will remember that the Australian pianist Fiona Bicket was a finalist in this competition in November, 1987, when it was a piano competition. This year it is a trumpet competition, and will be held, as before, in Washington DC, USA.

Australian pianist Fiona Bicket: she was a finalist in the Thelonious Monk Competition in November, 1987… PHOTOGRAPHER UNKNOWN Those interested in entering are advised to write to: Thomas Carter, Executive Director, Thelonious Monk Centre for Jazz Studies, 5000 Klingle St, NW, Washington DC 20016, United States of America. Tel: (202) 895 1610 or (202) 265 6474

28. SBS Airs Vince Jones CD On Saturday, April 29, I was up early to catch up with some videos, and when I turned on my set, at 7.30 am, the SBS test pattern was playing, along with Vince Jones' CD Trustworthy Little Sweethearts. Well, I stayed in touch with the channel all morning, and found that the same disc was played continuously until 2.15 pm, when SBS's television programs began. Not a bad run of promotional airplay - over six hours - for a jazz-oriented disc. But then again, as some people have pointed out, how many people, when they feel like listening to music, turn on the SBS test pattern...?

29. Jazz Action Society Northern Rivers Disperses Funds to Lismore Schools The Northern Rivers Jazz Action Society, after being inactive for some years, has dispersed accumulated funds to three high schools in the Lismore area: Lismore High School, the Richmond River High School and the Kadina High School. Each school received $500 for the purpose of nurturing the study of jazz in the school by the purchase of records, books, arrangements, etc. Bob Blain, President of the Society, writes that this "does not mean though, that the organisation has been disbanded. We shall continue to operate and disseminate any information received to the schools in the district." [Editor's Note: speaking of the Northern Rivers area, I hear that the outstanding Sydney pianist Paul McNamara has accepted a teaching position at the Northern Rivers College of Advanced Education, in Lismore...]

Paul McNamara (above) has accepted a teaching position at the Northern Rivers College of Advanced Education, in Lismore… PHOTOGRAPHER UNKNOWN

30. Parkes Jazz Triduum On Again The Eighth Parkes Jazz Triduum is on this coming June 10,11 & 12, 1989, with the following bands being the main attractions: * Belmore Basin Jazz Band (Wollongong) * Roaring Horns (Newcastle) * Feetwarmers (Newcastle) * Andrew Firth Quartet (Sydney)

The program of the festival will be as follows:

Andrew Firth: his quartet featured at the eighth Parkes Jazz Triduum… PHOTOGRAPHER UNKNOWN * Friday night - an impromptu blow for early arrivals at Parkes Leagues Club; * Saturday 11 am - Street Parade followed by concert at Parkes Leagues Club auditorium by registered bands; * Saturday night .8 pm - Concert/dance at Leagues Club to Roaring Horns and Feetwarmers. * Sunday - All day concert by registered bands to 6 pm; * Sunday night - Concert and dancing from 8 pm to Belmore Basin Jazz Band and Andrew Firth Quartet. * Monday - Farewell session from 10.30 am - Leagues Club & wherever. Band registrations close Friday May 19, 1989. For further information, write to The Secretary, Central West Jazz Club, PO Box 544, Parkes NSW 2870. Phone enquiries to Bernie Crowe (068) 62 1700 or Derek Fellows (068) 62 3196.

31. Melbourne Improvisers Association The MIA has presented two concerts since the issue of my last newsletter: on May 13 & 14, at the Grant St Theatre, Sth Melbourne, featuring the MIA Orchestra and the group Mind/Body Split.

Jim Denley, one of the musicians in Mind/Body/Split… PHOTOGRAPHER UNKNOWN I must say that the publicity made the music sound exciting and, had I lived in Melbourne, I would have been keen to attend. The MIA Orchestra was scheduled to perform five new works, "each of which will feature astounding improvisations and daring music adventures well outside the mainstream." Mind/Body Split's music is described as "a unique convergence of voice, electronics and recycled music refuse featuring globs of surprise and illusion." The MIA is supported by the Australia Council, the Vic Ministry of the Arts, and the Victorian Health Promotion Foundation.

32. Videos Available At Jazz Co-ordination Office The following videos are available at my office, and can be loaned free-of-charge to approved borrowers, under certain conditions: * "Montreux Jazz Festival" [six one-hour programs broadcast on SBS in Jan & Feb, 1989]; * "Brown Sugar" [Programs 2,3 & 4 of four one-hour programs broadcast on SBS in January, 1989]; * "Montsalvat Jazz Festival" [One-hour program broadcast on ABC-TV 8/2/89]; * "Loose Tubes" [Documentary on the British avant-garde large ensemble, broadcast on Channel 4, London];

* "From Maroubra To Mexico" [Documentary of visit to Mexico by Jeannie Lewis, Chris Abrahams, Lloyd Swanton & Tony Buck, broadcast on SBS 24/2/89]; * "All That Jazz: Sergei Kuryokhin" [Documentary on a Russian avant-garde jazz musician, in the Comrades series, broadcast on ABC-TV 21/2/89];

Russian avant-garde jazz musician Sergei Kuryokhin… PHOTOGRAPHER UNKNOWN * "Ethnic Notions: Black People In White Minds" [Documentary on an aspect of racism in the US, of some relevance to jazz, broadcast on SBS, 2/5/89]; * "Young Man With A Horn" [1950 film, with Kirk Douglas as a jazz trumpeter who played commercial music to survive, but lived only for jazz. Some quirky views of jazz. Also stars Lauren Bacall, Doris Day, Hoagy Carmichael. Broadcast on TCN-9, 6/4/89].

Kirk Douglas & Lauren Bacall in Young Man With a Horn (1950)… PHOTOGRAPHER UNKNOWN

33. Overseas Artists Touring 33.1. The following artists are touring, or will be touring, for Dr Jazz Enterprises: * The American guitarist Emily Remler - May 8-22;

American guitarist Emily Remler… PHOTOGRAPHER UNKNOWN * The American trombonist Bob Havens - June 19-July 3; * The American pianist Jay McShann - August 11-26; * The American saxophonist Red Holloway - September;

American saxophonist Red Holloway… PHOTOGRAPHER UNKNOWN * The American saxophonist Scott Hamilton - Oct 15-30.

34. Surprise Series on ABC Television ABC Television began a new six-part series, entitled Jazz Az Now, on Wednesday, May 26. The first episode was sub-titled "The Composers" and the composers featured were Andrew Firth, Bernie McGann, Fiona Bicket, John Sangster, Sandy Evans, Cathy O'Sullivan and Vince Jones. The five programs that follow are: The Blues Side: [31/5/89] The Gaiety Swing Band, Kate Ceberano & Her Band, Any Woman's Blues, Vince Jones Band, Andrew Firth Band, Fiona Bicket Trio, Pippa Wilson, and Blues On The Boil. The Singers: [7/6/89] Kate Ceberano, Sweet Atmosphere, Any Woman's Blues, Blues On The Boil, Killer Joe Band, Vince Jones Band, Margaret Morrison, Pippa Wilson Swingtette, and the Gaiety Swing Band. Piano Players: [14/6/89] Stephen Grant, Onaje, Don Burrows/James Morrison Band, Tony Gould Band, Mike Nock/Dale Barlow Band and Clarion Fracture Zone. The Blowers: [21/6/89] Mike Nock/Dale Barlow Band, Vince Jones Band, Kurt Jahnberg Band, Andrew Firth, Don Burrows/ James Morrison Band, and Ten Part Invention. The Ladies: [28/6/89] Kate Ceberano, Any Woman's Blues, Pippa Wilson Swingtette, Blues On The Boil, Summerhaze, Fiona Bicket Trio, Mistaken Identity, Andrew Firth Band, & Dave MacRae Band. The ABC should be congratulated for having this series on. It is an encouraging step in the right direction - ie bringing to the notice of the public what is really happening in Australian jazz. But virtually no-one in the jazz world in Australia knew in advance that it was being shown, until some people picked it out of the obscurity of the television guides at the beginning of the week commencing May 24. Doesn't the ABC know that there is an effective network of jazz organisations around Australia that would publicise such a series, and help the ABC find a substantial viewing audience? Don't they know they have a national radio broadcaster in Jim McLeod, who also wasn't told a thing? Don't blame ABC-TV Publicity. I rang them after the first program, and they had no information at all on the series. They had to ring the producer Henry Prokop in Brisbane to find out what was happening. Also, the program was scheduled for 11.25 pm. It actually began at about 11.38, making it a late, late program, ending well after 12.30 am. As I've said before in this

47 newsletter, why does it have to be assumed that jazz fans are only available late at night or in the early hours of the morning? My guess is that the viewing audience would have been confined to people with videos, or those who don't get up for work in the morning. Here was an excellent television program, featuring the cream of Australian jazz, and the ABC was apparently doing its best to ensure that as few people as possible watched it.

35. Line of the Month. I am indebted to Judy Bailey for the following line. At the first meeting held at the Australia Council in the early 1980s to discuss the needs of Australian jazz and the possibility of a jazz co-ordination scheme, Graeme Bell was heard to remark: "If jazz had become popular, it would have died out years ago!"

Judy Bailey (left) together with Graeme Bell in 1985. He is presenting her with the inaugural APRA Music Award for Most Performed Australasian Jazz Work: If jazz had become popular, it would have died out years ago… PHOTOGRAPHER UNKNOWN

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[NB. The views expressed in this newsletter are not necessarily those of the Jazz Co- ordination Association of NSW, nor of the members of the National Jazz Co- ordination Advisory Committee.]