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Allan Browne & Richard Miller
ALLAN BROWNE & RICHARD MILLER: MODERNISTS & TRADITIONALISTS Interviewed by Adrian Jackson* __________________________________________________________ [This article appeared in the Winter/Spring 1986 edition of Jazz Magazine.] rummer Allan Browne and saxophonist-clarinettist Richard Miller have been making music together for more than 20 years now. Their partnership began D in 1965 when Miller joined the Red Onion Jazz Band, led by Browne and still remembered as the most successful Australian jazz band of its time. None of their records is currently available, but a cassette (Anteater 002) which contains excerpts from some of the band’s early EPs, plus a recording from a concert in Warsaw in 1967, shows that the band’s reputation was founded on real musical qualities. Many of those qualities were re-captured when the band staged a couple of sell-out reunions at the Limerick Arms Hotel in 1984. The members of the quartet Onaje, L-R, Gary Costello, Bob Sedergreen, Richard Miller, Allan Browne… Since mid-1985, the pair have also displayed their mastery of traditional jazz in the Allan Browne Jazz Band, which plays every Thursday night at the Emerald Hotel in South Melbourne. The other members of that band are trumpeter Peter Gaudion, __________________________________________________________ *In 1986 when this was published, Adrian Jackson was a freelance writer, who had been jazz critic with the Melbourne Age since 1978. 1 Richard Miller (left) and Allan Browne, outside the Limerick Arms Hotel… PHOTO COURTESY AUSTRALIAN JAZZ MUSEUM trombonjst Bill Howard, clarinettist Fred Parkes, bassist Leon Heale and guitarist- banjoist John Scurry; Browne’s wife, Margie, occasionally adds vocals or piano. -
Transcription and the Investigation of Model- Based Jazz Performance: a Case Study and an Unprovoked Defence
Transcription and the Investigation of Model- based Jazz Performance: A Case Study and an Unprovoked Defence Timothy Stevens This article compares the trombone parts of two performances of Arnett Nelson's composition 'Buddy's Habit.'1 The comparison is made through the use of transcribed examples, and demonstrates firstly that one performance was used as a model for the other. King Oliver's Jazz Band recorded 'Buddy's Habif in 1923, and it was this version which the young Melbourne group the Red Onion Jazz Band used as a model when it recorded the piece in 1964.2 Following a procedure common to many young traditional jazz bands, in learning the tune the Onions studied the Oliver band's recording closely, and as a result the imprint of that performance on their own is undeniable. This is a case of a specific model-based procedure wherein a particular recording rather than a band or a style is taken as a reference point. Yet the Onions' interpretation is not by any means a duplication of the Oliver band's version, nor was it intended to be. Further investigation of the two performances establishes that there was considerable freedom in the Onions' approach. Comparison of the two versions is facilitated in this instance by their having been written out from the respective recordings. The three definitions of 'transcription' given by Mark Tucker are all therefore relevant: 'the act of fixing in notated form music that is entirely or partly improvised, or for which no written score exists; also the resulting notated version itself. -
W&G 1955-1977
AUSTRALIAN RECORD LABELS W&G RECORDS 1955 to 1977 COMPILED BY MICHAEL DE LOOPER © BIG THREE PUBLICATIONS, JUNE 2012 W&G RECORDS NOTES ‘AUS’ INDICATES AUSTRALIAN ARTIST ‘TOP 40’ INDICATES A TOP 40 ENTRY W&G CATALOGUE NUMBER PREFIXES A, AB, ACC, ACE, ACN, ACM, AL LP B, BDN, BJE, BJM, BJN, BL, BMC, BMF, BMM, BMN, BPC, BPM, BPN, BS LP CC, CL, CPN 10” LP D, DJE, DJN, DL, DMM, DPC, DPN 10” LP E, EBA, EC, EJA, EKA, EKC, EMR, EP, EPN, IN-E, Q, TE EP F 78 FDN, FL, FMC, FMM, FPN LP LCO, LCR, LDI, LJA, LM, LMR, LP 10” LP PCC, PCR, PDR, PJN, PMC, PMR, PPC, PPN LP S, SBA, SBI, SFN, SJA, SKN, SL, SPN, CGDS, G, GF, GS, IN-S, TS 45 XKP 78, LATER 45 25, 25S, 29, 35S, 40, 45S, 45TVS, M, GEM LP CAS CASSETTE CRT 8-TRACK CARTRIDGE PT, PTS REEL-TO-REEL TAPE GREEK MUSIC RELEASED ON THE W&G ATHENEE LABEL (CAT NO. WG-GS 4000 SERIES) ARE NOT LISTED CHILDREN’S EP’S (CAT NO. EEP 500 SERIES) ARE NOT LISTED MOZART EDITION MOOD MUSIC RECORDINGS ARE NOT LISTED CUSTOM RECORDINGS (CAT. NO. CWG SERIES) ARE NOT LISTED 2 W&G RECORDS W&G CATALOGUE LJA 100 BATTLE OF THE SAXES ILLINOIS JACQUET AND LESTER YOUNG LJA 101 MOOD MUSIC CHARLES BROWN 11.55 LJA 102 PARTY AFTER HOURS VARIOUS ARTISTS LJA 103 LYNNE HOPE AND HIS TENOR SAX LYNN HOPE LCO 104 THE SINGING BIRD MURRAY KORDA AND HIS GYPSY ORCHESTRA LDI 105 RUMBA AND SAMBA THE ARTHUR MURRAY WAY BOBBY RAMOS AND HIS ORCHESTRA EBA 106 SINGING THE BLUES BILLIE HOLIDAY EBA 107 MAXWELL DAVIS AND HIS TENOR SAX MAXWELL DAVIS EJA 108 ILLINOIS JACQUET AND HIS TENOR SAX ILLINOIS JACQUET EJA 109 HOWARD MCGHEE PLAYS HOWARD MCGHEE EJA 110 WILLIE -
ALLAN BROWNE: DRUMMING up 50 REASONS to REJOICE by Andra Jackson*
ALLAN BROWNE: DRUMMING UP 50 REASONS TO REJOICE by Andra Jackson* ____________________________________________________ [This article appeared in the Sydney Morning Herald on May 21, 2010] elbourne drummer Allan Browne recalls attending a jazz dance when he was 16 that was to change his life and the course of Australian jazz. With M him were close friends Brett Iggulden and Bill Howard, all obsessed with flying model aeroplanes. But on hearing the Yarra Yarra New Orleans Jazz Band they were transfixed and back at Iggulden’s home pulled out his father’s George Lewis recording -the American clarinettist prominent in the 50s’ revival of New Orleans jazz. ‘‘We thought well, this is the same music only even better, so we will try and play it because really we were 16, and model aeroplanes were not really interesting things to do as far as girls go and life,’’ Browne recounts. The Yarra Yarra New Orleans Jazz Band. Back row, L-R, Bob Brown (string bass), Lee Treanor (banjo), Judy Jacques (vocals), Don Hall (drums), Dennis Ball (clarinet). Crouching L-R, Les Fithall (trombone), Maurie Garbutt (trumpet): Allan Browne, Brett Iggulden and Bill Howard, were transfixed… ________________________________________________________ *In 2010 when this was written, Andra Jackson was a staff journalist at The Melbourne Age. Her brother Adrian Jackson was then artistic director of the Stonnington Jazz Festival. 1 It was the genesis of The Red Onions Jazz Band, Australia’s second most famous jazz band after the Graeme Bell and his Australian Jazz Band that performed in East Europe and was based in London in the early 50s. -
The Development of an Australian Jazz Real Book Timothy Peter
The development of an Australian Jazz Real Book Timothy Peter Nikolsky Doctor of Philosophy 2012 RMIT University The development of an Australian Jazz Real Book A project submitted in fulfillment of the requirements for the deGree of Doctor of Philosophy Timothy Peter Nikolsky B. Arts (Music Industry); Grad. Dip. Education School of Education ColleGe of DesiGn and Social Context RMIT University August 2012 i Declaration I certify that except where due acknowledGement has been made, the work is that of the author alone; the work has not been submitted previously, in whole or in part, to qualify for any other academic award; the content of the thesis is the result of work which has been carried out since the official commencement date of the approved research proGram; any editorial work, paid or unpaid, carried out by a third party is acknowledged; and, ethics procedures and Guidelines have been followed. Tim Nikolsky 08/08/2012 ii “The problem with Jazz as a term it is both a strength and weakness. Jazz for most people is the picture of what they have in their minds. There isn’t a thinG called jazz. People have different ideas of what jazz might be, dependent on where and when they encountered it and the role it had in their lives.” Paul Grabowsky (interview with researcher, July 2011) “I conGratulate you. HavinG been closely involved in an attempt to compile one of these a couple of decades ago, I have a particularly acute appreciation of the magnitude of the task, and, worse, its politics. No two people will ever aGree as to what should be included in a book like this.” Professor Bruce Johnson (email correspondence, AuGust 2011) iii Table of Contents Title page i Declaration ii Quotes iii Table of Contents iv FiGures and Tables vi Acronyms vii Papers presented during candidature viii Abstract ix 1. -
AUSTRALIAN JAZZ HISTORY: a COMPREHENSIVE OVERVIEW by John Whiteoak & Bruce Johnson*
AUSTRALIAN JAZZ HISTORY: A COMPREHENSIVE OVERVIEW by John Whiteoak & Bruce Johnson* _______________________________________________________ [The following is the ‘Jazz’ entry in the Currency Companion to Music and Dance in Australia, published in 2003. John Whiteoak and Aline Scott-Maxwell were General Editors.] he most prominent strand in the early history of Australian jazz is American influence on Australia popular music in the 1920s—the jazz age. Professional T musicians ‘jazzed’— jazzed up—popular music in keeping with Australian interpretations of the exuberance and excitement of entertainment fashions in the jazz age. African—American elements in early Australian jazz largely represented a long tradition of highly mediated African—American influence on popular music and dance, which blackface minstrels brought here in the 185os. Black American jazz held little interest or esthetic appeal for Australians until the 193os. Yet in the 1920s even the vaguest report that jazz music and dancing were somehow ‘Negroid’ in origin imbued them with appealing exoticism and an exciting aura of social, musical and terpsichorean transgression. Opponents of jazz—age music and dance occasionally cited these same misunderstood African—American origins as evidence of musical crudity, offensiveness and social undesirability. The Melbourne Age, for instance, claimed on 7 July 1926 that jazz was ‘an imported vogue of sheer barbarism a direct expression of the Negroid spirit’. Self-aware jazz followings, based on performance and appreciation of the less diluted styles of jazz for their intrinsic musical and expressive merit, emerged gradually in Australia. Jazz clubs, jazz societies and jazz periodicals were just beginning to represent these followings at the end of the 1930s.