DOCSLIB.ORG

June 2018 Newsletter

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
June 2018 Newsletter BALLARAT JAZZ CLUB JUNE 2018 NEWSLETTER Ballarat Jazz Club Inc. No. A7121 P.O. Box 408 Ballarat, Vic., 3353 Newsletter Sponsored by Eclipse Ford www.ballaratjazzclub.weebly.com [email protected] President John Bunn 0408 542 455 Vice President Gerard Ballinger, Secretary Steve James Treasurer Andrew Vagg Newsletter Editor Marion NunnBookings Marion McHenry, Band Coordinator Gerard Ballinger, Photos Cindy Turnbow SPONSORED BY ECLIPSE FORD BALLARAT Inside this issue REVIEW ...................... GIG GUIDE .................. HISTORY HIT ............... JAZZ TRIVIA …………….. QUIZZ ......................... WHATSINANAME ....... MEMBERS CONTRIBU- TION ........................... CLUB NEWS…………….. FESTIVALS ................. COME ALONG AND JOIN US FOR OUR NEXT GIG WITH THE FABULOUS “DAVEY G AND STRINGS’” ENJOY A GREAT MEAL, WARM AND FRIENDLY ENVIRONMENT AND THE FANTASTIC ATMOSPHERE OF THE BALLARAT GOLF. MAKE A BOOKING, BRING ALONG YOUR FAMILY AND FRIENDS. B.J.C. 2018. B.J.C. All 2018 rights ALL reserved.RIGHTS RESERVED HISTORY HIT Post-World War II jazz was a great success when they played at the World Youth Festival After the end of World War II Australian jazz in Prague, Czechoslovakia, going on to tour began to diverge into two major Europe and finally basing themselves in strands: dixieland or 'traditional jazz' (early England where they are said to have exert- jazz) and modern styles like progres- ed a strong influence on the European tra- sive swing, boogie-woogie and bop as ex- ditional jazz revival of that era. On returning emplified by the music of Charlie Par- to Australia Graeme Bell's Jazz Band ker and Dizzy Gillespie. Graeme Bell was an worked successfully on the local club cir- important contributor to Melbourne's 1940s cuit, as well as recording and touring ex- traditional jazz boom and in 1947 his band tensively. IF YOU HAVE TO ASK WHAT JAZZ IS, YOU’LL NEVER KNOW……...Louis Armstrong BAND REVIEW ………...Gerard Ballinger Ballarat High School 27th May 2018 – Ballarat Jazz Club Over the past five years, The Ballarat Jazz Club has supported the Ballarat High School, by providing an avenue, whereby stu- dents and teachers can present a jazz concert. On Sunday 27th, Bryn Hills MC and teacher, announced their presentation would be in honour of Geoff Herkes and thanked the club for their ongoing support. Bryn’s talent was reflected in the stu- dents performances and his own trombone playing. Once again, the students and teachers provided an outstanding afternoon of entertainment. The level of musicianship was very high throughout the afternoon, with several “special surprises” given. One in particular was from former student Josh Woods (on saxophone). Since graduating, Josh has gone on to achieve many great things and is now a well sought after musi- cian. Josh relayed the story of how some of the money donated by the Ballarat Jazz Club while he was a student, enabled him to purchase his first saxophone. The current students, all presented some very good numbers. Paula Maki is a very talented student and is a very capable sing- er, as well as saxophone player. Members of the audience enjoyed her interpretation of the tune Moondance, as well as the duets she performed with Josh Woods. Another student, Peggy Hills, performed very well. She is also multi-talented, an excellent singer and trombone player. In her final year at high school, she presented very good vocal performances with Georgia and Bad Habits. Other excellent student performances included Peter Wynen with an excellent rendition of Django Reinhardt’s Gypsy Swing, Emily singing her VCE exam piece My Romance. Harry Phillips did a very good job in performing the Miles Davis tune Milestones. The special surprises kept coming. For the first time in the Ballarat Jazz Club’s history, the vibraphone was heard and played capably by teacher Al Lethlean. Al is an excellent drummer and provided solid rhythm throughout the afternoon. Former student and now teacher, Ashley Craven, presented powerful vocal performances, in particular with such tunes as Sky Fall (from the James Bond Film), Perhaps Perhaps, Perhaps and Who’s Lovin you. Ballarat High School are very privileged have Ashley as a member of staff. Other brilliant staff members and musicians were Damien Woods (piano) and Ian (double bass) and Simon Marcolo (trumpet). Students are in very capable hands with these three gentlemen, all outstanding musician and very likable individuals. The finale of the High School performance, was presented from another staff member Heather George. With a large backing ensemble, Heather presented a first class rendition of the classic tune Golden Wedding. Well done Ballarat High School, an extremely enjoyable afternoon of music presented, enjoyed by all. Review by Gerard Ballinger B.J.C. 2018 ALL RIGHTS RESERVED 2 2 b>B.J.C 2018j B.J.C MEMBERSHIP FEES ARE BALLARAT DUE NOW—$30 PER PERSON JAZZ CLUB PER YEAR. 2018 PLEASE MAKE SURE BJC HAS YOUR CORRECT EMAIL AD- DRESS AS ALL NEWSLETTERS AND SAVE NOTICES ARE FORWARDED THE DATE BY E-MAIL TO ALL MEMBERS. IF YOU DO NOT HAVE AN E-MAIL ADDRESS PLEASE ADVISE A MEMBER OF THE COMMITTEE AND NEWSLET- TERS AND NOTICES WILL BE POSTED TO YOU. WHATS IN A NAME …………..TEN QUESTIONS 1. Where were you born? Baroowa, NSW 2. Is there something in particular that you remember of your childhood? There was always music in our home, my mother played alto sax, piano and organ, my sister played trumpet and my brother played drums. My father was a Methodist Minister. 3. What musical interests did you have if any? I loved horn’s and practised since I was seven on my broth- ers cornet. 4. Did you have a childhood ambition?. To play music and learn how to play the trumpet 5. What career paths did you eventually pursue? Jazz trumpeter, attended Sydney Conservatorium of Mu- sic and studied Jazz. 6. At what stage, did you become interested in jazz? When I was seven. 7. Do you play an instrument or do you wish you could play an instrument? I play trumpet, trombone and piano 8. Have you travelled? I have travelled all over the world but Australia is the place I love. 9. Who is your favourite musician (dead or alive)? I met many wonderful musicians in my life but meeting Don Burrows at The Sydney Conservatory was the highlight of my career ,as he became my mentor and my friend for life.t 10. What is your name? James Lloyd Morrison B.J.C. 2018 ALL RIGHTS RESERVED BAND REVIEW ………… Dawn Houghton Slipdixies We have just enjoyed a great afternoon with the talents of Dario Ogrin ( various reeds), Jamie Barling (trumpet / trombone), Alastair Carr (banjo / acoustic guitar ), Mark Zerafa ( (sousaphone) and the forever smil- ing Susy Hull ( washboard / vocals / mandolin ukulele) The afternoon started with St Louis Blues, Careless Love sung by Susy surprised me as few bands play the verse and at first I did not recognize the tune. I stopped counting after awhile , but the verse was played in many tunes. This is one of the things that stood out for me , that they had gone to the trouble to source the music to the verse. Susy , except for two instrumental tunes, sung Oh Daddy, Baby Won't You Come Home, Someday Sweetheart, Don't Fish in My Sea and many more. In the second set , out came the 1959 Banjo Ukulele with Susy singing Just a Closer Walk With thee. Another old tune Whispering , again with verse , this brought memories for me of my days with the Victorian Banjo Club, it was a tune I played often. Now I cannot write without mentioning Alastair who showed his talent in playing Avalon and later The World Is Waiting For The Sunrise . Jamie definitely showed his skills with playing with the trumpet in his right hand and the tr ombone in his left hand – very impressive – swapping bars with himself. Mark did what all souse players do – was there playing every note, Dario ,well what can I say, was there with his excellent clarinet and saxophone playing. The audience was encouraged to join in for a sing-a-long with You Are My Sunshine which, when I looked around, the majority where happily singing along. The last tune Alcoholic Blues ended a great afternoon. Dawn Houghton B.J.C. 2018 ALL RIGHTS RESERVED LOCAL, NATIONAL AND INTERNATIONAL EVENTS B.J.C. 2018 ALL RIGHTS RESERVED LOCAL, NATIONAL AND INTERNATIONAL EVENTS B.J.C. 2018 ALL RIGHTS RESERVED NATIONAL GALLERY OF VICTORIA JAZZ THEMED FRIDAY NIGHTS RUNS UNTIL 7TH OCTOBER 2018 B.J.C. 2018 ALL RIGHTS RESERVED BALLARAT JAZZ CLUB—SPECIAL EVENTS JAZZ QUIZ ………………….. What guitarist backed up Ella Fitzgerald on her memorable “Cole Porter Songbook” recordings in 1956? Answer… Barney Kessel This Washington, guitar player made a lot of won- derful music with his bass playing brother Joe? Answer… Charlie Byrd Which modern day African born guitarist is celebrated for his fusion of traditional west African music and modern jazz? Answer… Lional “Tin Man” Louke Which famous guitarist said” jazz isn’t dead, it just smells funny”? Answer… Frank Zappa B.J.C. 2018 ALL RIGHTS RESERVED MEMBERS CONTRIBUTION JAZZ TRIVIA………... A night out in the Big Smoke Jazz is hands down, the most hybrid form of music in the Maree and I had a couple of days in Melbourne early in May and we no- world. Drawing from ticed a referral to Birds Basement – a Jazz Club in the CBD. the largest number We booked seats on line with the help of the young receptionist at the Jazz Corner Hotel on the corner of Williams and Latrobe streets. The Hotel is at of influences, includ- the front and, of course, above the basement.
Load more

Recommended publications
  • Vivat Regina! Melbourne Celebrates the Maj’S 125Th Birthday
    ON STAGE The Spring 2011 newsletter of Vol.12 No.4 Vivat Regina! Melbourne celebrates The Maj’s 125th birthday. he merriment of the audience was entrepreneur Jules François de Sales — now, of course, Her Majesty’s — almost continuous throughout.’ Joubert on the corner of Exhibition and celebrated its birthday by hosting the third TThat was the observation of the Little Bourke Streets. The theatre’s début Rob Guest Endowment Concert. The Rob reporter from M elbourne’s The Argus who was on Friday, 1 October 1886. Almost Guest Endowment, administered by ANZ ‘covered the very first performance in what exactly 125 years later — on Monday, Trustees, was established to commemorate was then the Alexandra Theatre, the 10 October 2011 the merriment was one of Australia’s finest music theatre handsome new playhouse built for similarly almost continuous as the theatre performers, who died in October 2008. * The Award aims to build and maintain a This year’s winner was Blake Bowden. Mascetti, Barry Kitcher, Moffatt Oxenbould, appropriate time and with due fuss and ‘“Vivat Regina!” may be a bit “over the Clockwise from left: Shooting the community for upcoming music theatre He received a $10 000 talent development the theatre’s archivist Mary Murphy, and publicity, as well as the final casting, but I top” — but then, why not?’ commemorative film in The Maj's foyer. Mike Walsh is at stairs (centre). artists and to provide one night every year grant, a media training session, a new theatre historian Frank Van Straten. am thrilled that they are spearheaded by a Why not, indeed! when all facets of the industry join to headshot package and a guest performance Premier Ted Baillieu added a special brand new production of A Chorus Line — as Rob Guest Endowment winner Blake Bowden welcome a new generation of performers.
    [Show full text]
  • Don Banks, Australian Composer
    Don Banks, Australian Composer: Eleven Sketches Graham Hair Southern Voices ISBN 1–876463–09–0 First published in 2007 by Southern Voices 38 Diamond Street Amaroo, ACT 2914 AUSTRALIA Southern Voices Editorial Board: Professor Graham Hair, University of Glasgow, United Kingdom Ms Robyn Holmes, Curator of Music, National Library of Australia Professor Margaret Kartomi, Monash University Dr Jonathan Powles, Australian National University Dr Martin Wesley-Smith, formerly Senior Lecturer, Sydney Conservatorium of Music Distributed by The Australian Music Centre, trading asSounds Australian PO Box N690 The Rocks Sydney, NSW 2000 AUSTRALIA tel +(612) 9247 - 4677 fax +(612) 9241 - 2873 email [email protected] website www.amcoz.com.au/amc Copyright © Graham Hair, 2007 This book is copyright. Apart from fair dealing for the purposes of private study, research, criticism or review as permitted under the Copyright Act 1968, no part may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without prior permission. Enquiries to be made to the publisher. Copying for educational purposes Where copies of part or the whole of the book are made under section 53B or 53D of the Act, the law requires that records of such copying be kept. In such cases the copyright owner is entitled to claim payment. ISBN 1–876463–09–0 Printed in Australia by QPrint Pty Ltd, Canberra City, ACT 2600 and in the UK by Garthland Design and Print, Glasgow, G51 2RL Acknowledgements Extracts from the scores by Don Banks are reproduced by permission of Mrs Val Banks and Mrs Karen Sutcliffe.
    [Show full text]
  • 1 OBITUARY: GRAEME BELL 1914-2012 by Bill Haesler
    OBITUARY: GRAEME BELL 1914-2012 by Bill Haesler OAM* _____________________________________________________ [This obituary appeared in the now-disconnected Jazz In Australia website in 2012.] ianist/bandleader/composer/artist Graeme [Gay] Emerson Bell AO, was born in Melbourne, Victoria, on 7 September 1914, and died in P Sydney NSW on 13 June 2012. Graeme studied classical piano as a child and was introduced to jazz by his younger brother Roger. They formed a dance band in 1935, played for local dances and functions until jazz took precedence and, in 1941, with like- minded friends, formed Graeme Bell’s Jazz Gang. Graeme Bell with his younger brother Roger Bell in the background. It was Roger who introduced Graeme to jazz… WWII broke up the group and he worked for the American Red Cross in North Queensland. On his return to Melbourne in 1944 he and Roger established 1 Graeme Bell’s Dixieland Band (later renamed Graeme Bell’s Australian Jazz Band) a local leader in the emerging worldwide jazz revival. In December 1946 it and other enthusiasts organised the First Australian Jazz Convention. The band toured Czechoslovakia, France and Britain in 1947- 1949, made a second tour of the UK and Europe in 1950-1952 and, by mutual consent, broke up in September 1952. Graeme Bell (at the piano, obscured), with his Australian Jazz Band at the Supraphone recording studio, Czechoslovakia, 1947. From left, Russ Murphy (drums, at rear), Pixie Roberts (clarinet), Roger Bell (trumpet), Lou Silbereisen (bass, facing away from camera), Ade Monsbourgh (trombone), Jack Varney (banjo)… For the next ten years Graeme was a show business personality assembling groups for concerts, stage shows and functions including a Combined Services Entertainment concert party tour in 1954-1955 entertaining the troops in Korea and Japan.
    [Show full text]
  • University of Leeds Catalogue of the Correspondence and Papers of the Rt Hon Edward Charles Gurney Boyle, Baron Boyle of Handswo
    Handlist 81 part 2 UNIVERSITY OF LEEDS CATALOGUE OF THE CORRESPONDENCE AND PAPERS OF THE RT HON EDWARD CHARLES GURNEY BOYLE, BARON BOYLE OF HANDSWORTH, C H (1923 - 1981) Part 2 (Index) Leeds University Special Collections MS 660 Aaronovitch, David, Vice-President NUS: letter from, 50831 Abbott, Eric Symes, Dean of Westminster: correspondence, 48500, 48503 48898- 48900, 48902, 48904, 49521, 49524 Abbott, Frank, chairman ILEA: correspondence, 38825, 47821-2 Abbott, Gill, chairman Liverpool NUS Committee: correspondence, 26830-3, 26839, 26841 Abbott, J R, secretary Nottingham & District Manufacturers' Association: letter from, 26638 Abbott, Joan, sociologist: correspondence, 8879, 8897, 8904 Abbott, Simon, Editor Race: correspondence, 37667-9, 47775-6 Abbott, Stephen: paper by, 23426, 23559 Abbott, Walter M, Editor America: letter from, 4497 Abel, Deryck, Free Trade Union : correspondence, 3144, 3148 Abel, K A, Clerk Dorset CC: letter to Oscar Murton, 23695 Abel Smith, Henriette Alice: correspondence, 5618, 5627 Abercrombie, Nigel James: correspondence, 18906, 18924, 34258, 34268-9, 34275, 34282, 34292-3, 34296-8, 34302, 34305, 34307-8, 34318-20; Copy from Harold Rossetti, 34274; Copies correspondence with Sir Joseph Lockwood, 34298, 34303 Aberdare, 4th baron: see Bruce, Morys George Lyndhurst Abhyankhar, B, Indian Association: correspondence, 9951, 9954-6 Ablett, R G, Hemsworth High School, Pontefract: letter from, 45683 Abolition of earnings rule (widowed mothers): 14935, 14938 14973-4, 15015, 15034, 16074, 16100, 16375, 16386 Abortion:
    [Show full text]
  • An Early History of Jazz in Victoria
    An Early History of Jazz in Victoria A seven-part series of Jazz Programs from the studios of Alpine Radio in north-east Victoria, distributed across Australia via the Community Radio Network - Program 1 Where it all began, the early years of jazz in the 1920s and 1930s, trad jazz and swing. Features two of the earliest recordings of jazz in Victoria, recorded in 1925. The program then moves on to the 1940s, when you can hear some of the jazz legends, Frank Coughlan and his Orchestra, Benny Featherstone, the influence of the visiting US troops during World War 2, and the fabulous Graeme Bell Jazz Band at the Uptown Club in North Melbourne. Those early years of the Bell Band are seen through the writings of John Sangster as a teenager catching the train to see his idols, and suddenly we have a band visiting from Adelaide – it’s the first Australian Jazz Convention. Program 2 More from John Sangster’s autobiography, as he heads overseas with the Bell Band as their drummer, and some of Sangster’s later music, then a listen to Graeme Bell playing ragtime piano, and introducing Tony Newstead and Ade Monsbourgh (Lazy Ade), both fantastic influences for many years on Victorian Jazz. Program 3 Program 3 introduces two brothers from Mentone who became legends of Australian, not just Victorian jazz, the Barnard Brothers, and some songs with a typical Australian jazz sound, titles like Russell Street Rag, and Billabong. Bud Freeman, a wonderful tenor sax player from the USA, is featured at the 30th Australian Jazz Convention playing a couple of songs from his set with the Bob Barnard Jazz Band in 1976.
    [Show full text]
  • OBITUARY: RICK PRICE 1930-1999 by Pat Theoharris ______
    OBITUARY: RICK PRICE 1930-1999 by Pat Theoharris _____________________________________________________ [This obituary appeared in the Feb/Mar, 1999 edition of JazzChord.] embers of the Brisbane jazz fraternity sang, played and prayed a moving farewell to the trumpeter Rick Price who died peacefully on January 2, M 1999. Rick emigrated to Australia in 1974 after gaining experience in the UK with an RAF Band, travelling Britain with various big bands and working as a session musician in London. A proudly “Ozzified Pom” Rick played with commercial big bands, but increasingly became interested in small group jazz, playing at Mileham Hayes’s Jazz Cellar in Brisbane when that band had two trumpets and subsequently became a leader in Brisbane of the bebop style with musicians such as Clare Hansson. Rick played at Jazz Action Societies in Queensland, festivals and conventions in other states, and also at the Musicians Club in Sydney, sharing the bill with the Dale Barlow Quartet at the Esso Australian Jazz Summit on Bondi Beach, and with the Queensland band backing Graeme Bell on several occasions. When the Dutch Swing College Band came to Brisbane, playing at the Queensland Performing Arts Complex, Rick was in the band that opened the concert. More recently Rick made two visits to Japan performing with the saxophonist Roy Theoharris. Rick Price: an “Ozzified Pom” who became a leader in Brisbane of the bebop style... PHOTOGRAPHER UNKNOWN ________________________________________________________ *Pat Theoharris is the wife of the saxophonist Roy Theoharris who served for many years on the management committee of the Jazz Co-ordination Association of Queensland.
    [Show full text]
  • IS THERE an AUSTRALIAN JAZZ? by Bruce Johnson*
    IS THERE AN AUSTRALIAN JAZZ? by Bruce Johnson* ___________________________________________________________________________ [This article appeared in two instalments in the December 1981 and January/February, 1982 editions of Jazz Magazine] he debate on whether or not there is a distinctively Australian jazz rumbles like a perennially empty stomach, and with occasional bursts of flatulence. On both T sides of the question there’s an abundance of simple-minded vigour, desperately romantic affirmations opposed to humourless and impatient denials. It was probably first suggested that there is such a thing as an Australian jazz spirit by The Bell band in 1945. L-R, Graeme Bell, Roger Bell (seated), Pixie Roberts, Russ Murphy, Cy Watts (seated), Bud Baker… PHOTO COURTESY AUSTRALIAN JAZZ MUSEUM _________________________________________________________ *In 1981 Bruce Johnson was Senior Lecturer in English Literature at the University of NSW, and an active jazz musician who had worked and recorded with many bands (including that of Graeme Bell) in Australia, England and the USA. He presented a regular jazz programme on 2MBS-FM, where he was also the Jazz Co- ordinator. He was writing for the Sydney Morning Herald, the newsletter of the Jazz Action Society of NSW, and the Sydney Jazz Club’s Quarterly Rag, of which he was editor. 1 the English when they heard the Bell band in 1947. But since then there has been little or no attempt to argue the point with any sustained attention to the evidence of the music itself. The Bell band in the UK in 1947, back row L-R, Ade Monsbourgh, Roger Bell, Lou Silbereisen, Russ Murphy.
    [Show full text]
  • Fter the ERIC BROWN 6 PEEL I Coniy3 F Sutfnmary October £6, 1969 Rf
    u^Jik^ fi/st d'-^-f-t EP.IC BROWN INT^WIEWER: Ran War '-L?n . REEL T Conly] NOTESiT-K' < Richard B, Alien October £6, 1C7>69 SUMMARY; Dan ^Jei^n.an TYPING: Dan Ueisman -f t ^ T c^. 1c. co rrn? LM i th h is ~^f Rari l/'Jarren i 'nv i t \ ng yot.ji me rt% ^e K nt. &:.'' those swinging doors to "Speakessy .Junction-)" iwhere they pley that aood old Dixielanri jr3Z2. ^Je?' 1 I be here? enjoyina '-.iome of the finest o-f Di >'ielai"<d i si-id *. ^ ~T -f T f^-. tr ad i. t i onoi ja=^n, i- » T om evET'ry era of Ja /, h i. s'tory with ~^t p ec i dl e-mphas i s an the music of the lc?£0''s, the golden era of the iTiUS 1 C. that we enjoy v 11 ". 1 II the1- Char 1 e<5t-Dn D 1 SV 5 11-1 the b .^ c I'- q T 0 tj i~td t.hmUdhc'U t. f" t I .' 30 V- 1 s r' u T' e 1. s:>'. n ^ i -t. b ''/ C' I.' r b^s k of be>^u-i i nt r o due t_i_on_, ) -' 1 ?;it bsc f ~t -i/^h i I e we 1 i st. en to sornR? of the -finest mus i c ever to be ceI led j=3Z e. v C"ThE? Charleston>" theme- continues...3 .I We are (gorng to 1-l~i3VO a specia j.
    [Show full text]
  • Early Ensembles and Recordings of John Grant Sangster* Timothy Stevens
    2011 © Timothy Stevens, Context 34 (2009): 35–43. Early Ensembles and Recordings of John Grant Sangster* Timothy Stevens This article is the first public statement in a continuing research project concerning the life and music of John Grant Sangster (1928–1995), who is widely regarded as one of the most important musicians in Australian jazz.1 The word ‘early’ in the title situates its concerns in the years prior to 1950 when Sangster—playing drums—joined Graeme Bell’s band at a time when it was about to undertake its second tour to Europe. The article traces Sangster’s progress from the washhouse behind his parents’ home, which he left at the end of 1946, to his appearance playing cornet at the 1948 Australian Jazz Convention, where he made something of a sensation, and thereafter to the point at which he was invited to replace Russ Murphy as the Bell band’s drummer. Early indications of adaptability and adventurousness can be seen as harbingers of the flexibility and open-mindedness that characterised the multi-faceted career that Sangster pursued in his maturity, embracing free improvisation, large-scale original composition, music for film and television, and work in music theatre. * A version of this article was presented originally at the National Conference of the Musicological Society of Australia, Melbourne, 4–7 Dec. 2008. My thanks to Roger Beilby, Mel Blachford, Bruce Johnson and the late Kevin Casey, all of whom assisted me during the time this paper was being written. 1 Sangster is described by Bruce Johnson as ‘one of the major figures, not just in jazz, but of Australian music’ (The Inaudible Music (Sydney: Currency, 2000) xiv), who left ‘a body of work unrivalled in Australian jazz’ (‘Obituary: John Sangster 1928–1995’, Jazzchord 27 (Oct./Nov.
    [Show full text]
  • GRAEME BELL at SEVENTY by Bruce Johnson*
    GRAEME BELL AT SEVENTY by Bruce Johnson* __________________________________________________________ [This article appeared in the Winter/Spring 1984 edition of Jazz Magazine.] n the occasion of Graeme Emerson Bell’s 70th birthday, it is appropriate to remind ourselves of his great contribution to jazz. The list of his achievements O is formidable: national and international tours, recordings, concerts, significant residencies, television series, radio broadcasts, a study tour of the US, and awards like the Queen’s Silver Jubilee Medal in 1977 and the MBE in 1978. Yet two periods stand out as having a special significance. The first spans roughly the years 1940 to 1946, and saw the burgeoning of the revivalist jazz movement in Australia, with Graeme Bell and his musical colleagues at its centre. Bell would be the first to be embarrassed at the suggestion that he was the most important musical actor in this movement, and of course names like Roger Bell, Ade Monsbourgh, Pixie Roberts and others were equally indispensable. But as leader of a ‘name’ band, Graeme inevitably assumes at the very least the symbolic leadership. Trumpeter Roger Bell: he converted his younger brother Graeme to jazz during the thirties…PHOTO COURTESY AUSTRALIAN JAZZ MUSEUM ____________________________________________________________________ *In 1984 Bruce Johnson was Head of the School of English Literature at the University of New South Wales, and an active jazz musician who had worked with bands in Australia, England and the USA. He then presented a regular weekly jazz program on 2MBS-FM, where he was Jazz Co-ordinator. He was also writing for a number of jazz publications, including Quarterly Rag, of which he was then the editor.
    [Show full text]
  • Performers Profiles
    PERFORMERS PROFILES Lisa Hunt — Lisa began singing in that great African American tradition, the gospel Liza Ohlback Trio — Liza is often compared to the Jazz/Blues Torch singers of the 1940’s, The Pocket Trio — The Pocket Trio is a feel-good ensemble of the new generation of CATCH GREAT MUSIC church, there was laid the foundation of her soulful singing style. She went on to study with a stunning voice capable of belting out swing or delivering a bittersweet ballad. swingers. Drawing influence from the trios of Oscar Peterson, Bill Charlap, Wynton Kelly voice at The City College of New York where she received a BFA in music. Her debut and Red Garland, their focus is on tight arrangements and groovy pockets. Individually the A multi “CHAIN” award winner and finalist for this years Australian Blues Artist of the INES FR album was ‘ A Little Piece Of Magic’ for Universal/Polydor. She has had songs on members of the band have worked as sidemen with some of the finest musicians in Sydney, & W OM YALUMBA year, she joins forces with legendary Jazz keyboardist/composer Sam McNally (Stylus and numerous compilations around the globe, both as singer and songwriter and has sold including James Morisson, James Muller, Warwick Alder, Dale Barlow, Sally Cameron and John Farnham) plus Greg Ohlback on drums/percussion. more than a million records. Strange for someone you’ve probably never heard of until The Jazzgroove Mothership Orchestra. Together they groove with an incredible sense of now, but hey, that’s showbiz! LL Duo — What you hear on record, are two musicians working as one.
    [Show full text]
  • Review Article the Invention of Australian Music
    Musicology Australia, 2015 Vol. 37, No. 2, 289–306, http://dx.doi.org/10.1080/08145857.2015.1076594 Review Article The Invention of Australian Music GRAEME SKINNER Honorary Associate, Sydney Conservatorium of Music, University of Sydney , Sydney , NSW , Australia Reconsidering a selection of key documents and artefacts, this review article traces a ‘brief history of early colonial Australia in nine musical objects’. Composed, devised, improvised, and merely imagined ‘works’, each is identifiable in some way as Australian. They are presented roughly chronologically, and include complete and partial survivals, and records of lost works; Indigenous and settler, gentry and working class music; musicians’ and some non-musicians’ music; most by men, but - when the documentary record admits them - quite a few by, for, or about women. Each is an early example of an ongoing stream in Australian colonial music, and serves as a useful historical paradigm/pattern for parsing clusters of related later materials, some of which are also briefly introduced. Demonstrating the ongoing process of musical and national invention from the 1770s into the 1840s, they challenge us to re-engage with ‘the muddy issues of Australianness’, and suggest that acts of cultural naming, claiming, and owning are not necessarily so superficial or problematically nationalistic as they are often assumed to be. Anticipation is to a young country what antiquity is to an old. 1 The late Peter Sculthorpe once characterized Australian music as emerging finally in the 1960s ‘Minerva-like, fully grown’, while pointing out that it had ‘of course, been there all the time; it was simply awaiting the right moment and, above all, the conjunction of a handful of caring people’.
    [Show full text]