NATIONAL CO-ORDINATION NEWSLETTER No 7, September 26, 1988 Writer, Editor: Eric Myers ______1. International Students Festival, Bombay, 1991 This was referred to in my last newsletter, No 6, September 5, 1988. The Director of this festival, Niranjan Jhaveri, has written to suggest criteria for selection of the Australian group. Those suggestions are as follows: (a) Ability of the band to swing; (b) Arrangements that inspire the soloists; (c) Good soloists; (d) Unison and precision in the sections; (e) Original compositions. While mentioning Niranjan Jhaveri, he has written an article in the Irish jazz magazine Jazz News, July/August, 1988, in which he makes certain comments on . He refers to two concerts which Jazz India organised in Bombay for two overseas artists: the American trumpeter Eddie Henderson, and Marie Wilson, whom he refers to as "a truly marvellous Australian jazz vocalist". Marie, who was born in India, was passing through Bombay on her way to London and New York, and made a strong impact in her birth-place.

Singer Marie Wilson, who was born in India: described by Niranjan Jhaveri as "a truly marvellous Australian jazz vocalist"… PHOTO CREDIT PETER SINCLAIR

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Mr Jhaveri goes on to write: "Bombay is strategically placed and Jazz-India has the organisational capability to attract stop-overs for jazz groups travelling in either direction. We have had a string of Australian top echelon groups here already (Bob Barnard, Crossfire, The Benders, Galapagos Duck, Judy Bailey) thanks also to the financial support from the Australian establishment and this year we expect the Wizards of Oz (who are touring Europe this summer - North Sea, Montreux, Ronnie Scott's, etc) with saxophonist Dale Barlow and the remarkable bassist Lloyd Swanton, and later on the Bernie McGann Quartet. "The Music Board [sic] of the Australia Council deserves praise for making it all possible but their main criteria for selection of, groups, based on original compositions, merits a second appraisal. While compositions are most significant in classical music, in jazz they have no real relevance."

Niranjan Jhaveri (centre) is pictured here in the company of Peter Brendlé (left) and Eric Myers (right), at the Australian Music Centre on the occasion of Niranjan’s visit to Sydney in 1981…PHOTOGRAPHER UNKNOWN

2. Bernie McGann Trio to Tour Overseas In another tour set up through co-operation between Trish Ludgate at Musica Viva and myself, and assisted by funds from the Australia Council and the Dept. of Foreign Affairs, the Bernie McGann Trio will leave in mid-October for performances in Europe and Asia.

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The group includes McGann (alto saxophone), Jonathan Zwartz (acoustic bass) and John Pochée (drums).

The Bernie McGann Trio, L-R, John Pochée, McGann, Jonathan Zwartz… PHOTOGRAPHER UNKNOWN The itinerary is as follows:

October 17-22 Ronnie Scott's, London (6 performances) October 27 Czech Jazz Festival, Prague October 28 Jamboree, Warsaw October 29 Sofia Jazz Festival, Bulgaria November 3 Belgrade Jazz Festival, Yugoslavia November 4 Nis Jazz Festival, Yugoslavia November 5-10 Taj Mahal Hotel, Bombay, India (3 perfs.) November 11 Kuala Lumpur Jazz Festival, Malaysia November 13 Penang, Malaysia November 14-15 Singapore Jazz Festival

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3. Strategy Adopted for the Wizards of Oz Overseas Tour

In my last newsletter, I described the strategy that had been adopted, on my advice, to advance the interests of this quartet over the last two years or so. A couple of people have contacted me to ask the following sorts of questions: why have you helped this group in particular? What about the other groups in Australia who could do with this assistance? When so much time is spent on one group, doesn't this amount to favouritism?

The Wizards of Oz, L-R, Paul Grabowsky, Lloyd Swanton, Dale Barlow, Tony Buck: a strategy had been adopted, to advance the interests of this quartet ... PHOTOGRAPHER UNKNOWN

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I would like to make two comments about this line of thought: 1. The strategy that was adopted for the Wizards of Oz is open to any jazz group in Australia. Also, assistance from the jazz co-ordinators in WA, SA, Tas and NSW is available to any group which wishes to tour overseas. If there are groups in Vic, Qld or the NT seeking such assistance, I can provide it from the Sydney office. 2. In the case of the Wizards, one has to realise that we were working in an area in which little work has been done in Australian jazz. The. Wizards were guinea pigs; we were trying to establish whether certain strategies were effective - whether an overseas tour could be mounted and funded successfully. The jazz co-ordination program tries to increase knowledge and expertise in the jazz world, by examining the feasibility of jazz ventures which, for various reasons, are normally not attempted. In the case of overseas tours, the only way we can do this is by working with a key group - i.e. a group which is of central importance to Australian jazz, and is of international standard - to actually set up a tour. Now that the Wizards have done their tour, from July 2-30, 1988, we can say, with confidence, that the measures adopted were successful - that, if a group follows certain procedures, it should be able to bring off an overseas tour. Having gone through the experience of the Wizards' tour, I am now in a position to give informed advice to other groups wishing to tour. Such advice would be something like the following: 1. If you wish to tour during a particular year, start planning during the first half of the previous year. For example, for a tour during 1990, start planning about April, 1989. It's a good idea to ensure that you have a stable line-up, and that the group will stay together for the following 18 months; changes of personnel can destabilise the preparations for a tour. 2. If you wish to include jazz festivals in your itinerary, consult the Directory of Jazz Festivals & Related Major Events, published by the International Jazz Federation. (Your State jazz co-ordinator should have a copy, or you can buy it yourself mail order from the Federation's offices in Denmark). You may wish to schedule your tour to take advantage of a cluster of appropriate festivals in adjoining countries. 3. Early on in your preparation, ensure that you have available a studio-quality tape of your group's music, plus other promotional material, such as a brief history of the group and biographical material on the players (typed out neatly). Copies of performance reviews are also helpful to establish the group's credentials. If you apply to the Australia Council for assistance, you will also need curriculum vitaes for each member of the group. 4. Apply to the Australia Council for financial assistance. Usually the closing date is May 15 of the year before the period of your proposed tour, i.e. apply by May 15, 1989, for a tour in 1990. Ring the Performing Arts Board of the Council, and ask for two 'International Touring' application forms and a copy of the Board's booklet Programs of Assistance. When you receive the booklet, read carefully the 'International Touring' section.

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By this time you will have prepared a budget of the tour's likely income and expenditure, and a good idea of your proposed itinerary. Bear in mind that the Australia Council only funds airfares for such a tour. You will need to ensure that, once you have taken into account the Council's contribution, any further deficit is balanced by performance fees or your own funds. 5. If you have difficulty understanding the application form, ask your local jazz co- ordinator for help. There are Govt. funded State jazz co-ordinators in NSW, Tas, SA and WA. If you live in a State where there is no jazz co-ordinator (e.g. NT, Qld & WA), I can assist you in my capacity as National Jazz Co-ordinator. 6. If you applied to the Australia Council in May, you should know by the following October if the application has been successful. If unsuccessful, you will need to raise the money for airfares from elsewhere. If you are successful, you can seek the assistance of Musica Viva Australia to administer your tour. Musica Viva administers many overseas tours which are funded by the Australia Council. Remember that the Australia Council will hold the funds until the tour's itinerary is confirmed. However, it may be that Musica Viva will not be able to fit you in; this depends on how busy their International Co-ordinator Trish Ludgate is. Speak to her. The advantages of involving Musica Viva are as follows: they have a telex machine which is crucial for chasing up engagements; they have good connections with the Australian embassies in foreign countries, where cultural officials may assist in setting up your tour; and they are very experienced in organising travel arrangements. 7. Whether you have the assistance of Musica Viva or not, you now need to set about securing your engagements; that is, you need firm invitations from festival directors and jazz entrepreneurs for your group to perform. This will be six-nine months before the tour is scheduled to begin. Send cassette tape, biographical notes on the players, a history of the group, reviews, and good black-and-white photograph of the group to the potential presenters. (If Musica Viva is involved, they will do this on your behalf). Experience has shown that, to secure a half a dozen festival engagements, you will need to send material to at least 25 festivals, and maybe as many as 60 festivals. The best strategy is to concentrate on a specific period of about three-four weeks, probably in the July/August period in Europe, when most European jazz festivals occur. 8. Then, wait for replies. If, about three to four months before the tour is to commence, you have not received enough replies, start phoning up the festival directors to check that they received the material. They should be willing, at that stage, to say whether they can put your group on their programs. Many will say that no final decisions on their programs have been made; so, you may have to wait. The above is, I believe, the best sort of advice I can give, based on the experience of The Wizards of Oz and Bernie McGann Trio tours of 1988. There is no guarantee that these strategies will work. A lot of things have to come together; every post has to be a winner. For example, your group's music may not be considered to be of

6 international standard, in which case your approach will probably be ignored; your application to the Australia Council may be unsuccessful; Musica Viva may be unable to administer your tour, in which case you'll have to do it yourself; and so on. Bear in mind that it is very difficult to secure such engagements working from within this country; but it is getting easier, because of the excellent impressions made by Australian groups in the past. For example, Crossfire, The Benders, Pyramid and the Wizards of Oz have done very well at jazz festivals like North Sea and Montreux. The Last Straw made an excellent impression recently at festivals in Wellington, Christchurch and Auckland, which augurs well for Australian representation in 1989. The Wizards acquitted themselves very well at three Canadian festivals in 1988, which will make it easier for other groups coming after them. If you can hire an agent in London or New York, this may make it easier for your group to secure engagements. This has been the basis of James Morrison's success in securing engagements in Europe in 1987 and 1988 - he has had the benefit of a good agent working for him based in New York.

James Morrison: he has had the benefit of a good agent working for him based in New York… PHOTOGRAPHER UNKNOWN For more detailed advice on mounting such tours, please contact me or your local jazz co-ordinator.

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I would like to stress one thing about the role of the jazz co-ordination program in all of this: in general, the major objective of all my activities is to find ways to get musicians onto the stage; in the case of performances overseas, it makes no sense to have information on overseas festivals if Australian groups never perform at them. My aim, therefore, has always been to find methods to actually facilitate overseas tours. People in the jazz world are always talking about touring overseas but, "Well done is always better than well said", as Benjamin Franklin wrote. Through the jazz co-ordination program, we have set up four tours in 1988: the Wizards of Oz tour, the Australian Jazz Orchestra tour of the USA, the visit of The Last Straw to New Zealand, and - still to come - the Bernie McGann Trio tour, the itinerary of which I have set out above.

The Last Straw, L-R, Tony Esterman, Lloyd Swanton, Ken James, Bernie McGann, John Pochée: a visit to New Zealand …PHOTO COURTESY TONY ESTERMAN

Also, Melbourne's Brian Brown and Tony Gould have recently performed in Japan for the World Saxophone Congress, and in Singapore and Brunei, in a short tour administered by Musica Viva and assisted by the Dept. of Foreign Affairs - a tour for which I can claim no credit for the jazz co-ordination program, although Brian Brown did ask me for some basic advice. In addition, Galapagos Duck will appear in Malaysia, Thailand, Laos, Vietnam and the Philippines between October 14 and November 8, in a tour fully funded by the Dept. of Foreign Affairs; and the WA traditional group, the Cornerhouse , will appear in Japan, Kuala Lumpur and Sarawak, between October 4-29, in a tour which is partially funded by the Dept. of Foreign Affairs.

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Galapagos Duck, including Chris Qua (far left) then clockwise Len Barnard, Willie Qua, Col Nolan, Greg Foster, Tom Hare: appearing in various Asian countries in a tour fully funded by the Dept of Foreign Affairs…PHOTO CREDIT PETER SMETANA I believe that 1988 is the best year for overseas performances by local groups in the history of Australian jazz.

4. Music of Phil Treloar's Feeling To Thought If you live outside Sydney, or if you live in Sydney and missed the concert by Phil Treloar and his colleagues as part of the recent New Directions series, then you can hear a tape of the performance on Jim McLeod's Jazztrack, on Friday, September 30, at 11.05 pm on ABC-FM. This will be a unique chance for people around Australia to catch up with one of this country's most innovative jazz ensembles.

Phil Treloar: you can hear a tape of his Feeling To Thought performance on Jim McLeod's Jazztrack… PHOTO CREDIT MARGARET FREDRICKSON

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5. Tour by Young Australian Jazz Ambassadors The Young Australian Jazz Ambassadors, the sextet put together by Melbourne's Rae Sedergreen with reps from six Australian States, begins a tour in Sydney on October 1. The group includes: John Mackey Western Australia Saxophone Mitchell Cross Tasmania Saxophone Colin Philpott New South Wales Tony Paye Queensland Bass Peter Ayliffe South Australia Drums Stephen Sedergreen Victoria Piano

Two members of the Young Australian Jazz Ambassadors: Perth saxophonist John Mackey (above) and the Melbourne pianist Steve Sedergreen (below)… PHOTOGRAPHERS UNKNOWN

The group has already been the recipient of an award from the Queen Elizabeth Silver Jubilee Trust for Young Australians. Its itinerary is as follows: Saturday October 1 Blue Note, Sydney Sunday October 2 Manly Jazz Carnival, Sydney Monday October 3 Blue Note, Sydney

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Wednesday October 12 Troubador, Melbourne Thursday October 13 Gala Restaurant, Melbourne Saturday October 14 Lygon Street Festa, & Jazz After Dark, Melbourne Sunday October 15 Doncaster Art Gallery, Melbourne

According to the group's pre-publicity, The Young Australian Jazz Ambassadors play hard-edged jazz, not unlike that of Art Blakey's Jazz Messengers, and include in their repertoire a variety of Australian jazz originals. 6. Sting Plus Jazz Musicians

Sting: touring with a band that includes some fine jazz musicians, including Branford Marsalis (sax), and Kenny Kirkland (keyboards), pictured below…KIRKLAND PHOTO COURTESY MELBOURNE JAZZ CO-OPERATIVE

The pop singer Sting will be performing in Australia in November, 1988, once again with a band that includes some fine jazz musicians. The musicians include Branford Marsalis (sax), Kenny Kirkland (keyboards), Dolette McDonald (vocals), Tracy Wormworth (bass), Jeffrey Lee Campbell (guitar), Delmar Brown (keyboards), Mino Cinelu (percussion), and J.T. Lewis (drums).

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The itinerary is as follows: November 7 Perth Entertainment Centre November 10 Adelaide Memorial Drive November 12 National Tennis Centre, Melbourne November 16 Brisbane Entertainment Centre November 18-19 Sydney Entertainment Centre

For further information, contact National Tour Co-ordination Patti Mostyn Publicity (02) 317 5522 Perth Sherrin Daws (09) 381 7828 Adelaide Bob Lott (08) 267 3522 Melbourne Mary Tarn Bainbridge (03) 690 3000 Brisbane Louise Carrol Publicity (07) 369 1377 Melbourne Frontier Touring Company (03) 690 3000 Sydney Frontier Touring Company (02) 332 2411

Branford Marsalis: in the Sting band…PHOTO COURTESY A CENTURY OF JAZZ Last time Branford Marsalis was in Australia, he was willing to play late (unpublicised) jazz gigs in Sydney and Melbourne. Will he do the same this time?

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7. Terse Quote of the Month How's this for a provocative promo, printed in The Sydney Morning Herald's 'Our Town' section, September 6, 1988? Regarding the concert presented by the Sydney Improvised Music Association (SIMA), featuring Clarion Fracture Zone, the new quintet co-led by the saxophonists Sandy Evans and Tony Gorman, the Herald states that this band eschews the "so-called new wave Melbourne bands whose snappy clothes and ceaseless talk about musical eclecticism masks instrumental incompetence."

Clarion Fracture Zone, L-R, Tony Gorman, Alister Spence, Toby Hall (in rear), Sandy Evans, Lloyd Swanton…PHOTO COURTESY AUSTRALIAN JAZZ & That should go down well with Wilbur Wilde's Blow-Out, the Vince Jones Band, Kate Ceberano and her Band, and the Bachelors from Prague!

8. Monterey Jazz Festival Down Under Someone took me to task for not mentioning this event in my last newsletter. However, this festival, and the artists involved, were mentioned in a number of previous newsletters. Appearing in Brisbane only on October 1 & 2 are: Herbie Mann, Ernestine Anderson, The Great Guitars (Barney Kessel, Herb Ellis, Charlie Byrd), and Bob Barnard & John Sangster. Appearing in Brisbane, and also in Adelaide (October 4), Melbourne (October 6) and Sydney (October 8), are: George Shearing, Earl Klugh, The Monterey All Stars, and the James Morrison Quintet.

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The Monterey All Stars include Bill Berry (), George Bohanon (trombone), Red Holloway (saxophones), Bruce Forman (guitar), Larry Grenadier (bass), and Vince Lateano (drums). However, contrary to earlier reports, the great pianist Hank Jones will not be with this group; his place has been taken by the pianist Smith Dobson. 9. All-Jazz Radio Station The 2JAZ-FM steering committee, concerned with the establishment of a 24-hour all-jazz FM station in Sydney, has called a public meeting at the Musicians' Bar in the Journalists Club, 36 Chalmers Street, Surry Hills, on Tuesday, October 25, 1988, commencing at 7.30 pm. The business of the meeting will be as follows: the formation of a suitable body corporate, and the election of Directors; and the presentation of a model constitution and proposed policies. The steering committee is: George Howell, Kevin Casey, Duke Farrell, Bill Haesler, Max Fitch and Peter Newton. In a circular dated September 2, 1988, Peter Newton writes: "The Steering Committee has lodged an expression of interest with the Department of Transport and Communications. The task ahead is a difficult one to be handled deftly by hard-working Directors who will have to consider such topics as fund-raising, premises, egalitarian programming strategies and corporate sponsorship."

Two members of the 2JAZ-FM steering committee, Peter Newton (left) and Bill Haesler: concerned with the establishment of a 24-hour all-jazz FM station in Sydney… Mr Newton says that a 'special interest' FM frequency will be available in 1989, and two additional frequencies will be available in 1992-93. He is inviting interested individuals and organisations to donate funds to assist with costs leading up to the public meeting. Cheques should be made payable to the 2JAZ-FM Steering Committee, and sent to 2 Carieville Street, Balmain NSW 2041. An audited account will be presented to the public meeting. Further enquiries to Peter Newton (543 3168 [work] or 810 1133 [home]) or to Max Fitch (579 5644).

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10. What Do We Mean By "Cutting Edge"? I first time that I can remember seeing the term "cutting edge" applied to jazz, was in the document Music Board Medium Range Plan 1985-1989 - a set of working papers on the development of Australian music, published by the Music Board of the Australia Council in February, 1986. On page 63 of the document it is noted that 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 [my italics]." I assumed then that the Music Board was referring to the jazz avant-garde, ie that area of the music where the parameters of the art form were being stretched. In his circular letter dated September 2, 1988, on behalf of the 2JAZ-FM steering committee, which has been established to look at the feasibility of a 24-hour all jazz FM station in Sydney, Peter Newton writes: "...we do not intend to lock the station into the meaningless constraints engendered by such terms as 'cutting edge'; but neither do we believe that the station will be a suitable vehicle for the many styles of contemporary crossover music in which jazz is the faint tinge rather than the full and robust colour." It is clear, from Mr Newton's use of the term, that he has some impatience with the idea of the 'cutting edge'. Recently, the Daily Telegraph columnist Hugh Nolan offered a startling new use for the term. In his 'Jazz Beat' column, September 22, 1988, Mr Nolan is effusive about James Morrison's new LP Postcards from Down Under: "Here it is: the cutting edge of Australian jazz," writes Mr. Nolan. "Hear this and discover why Morrison conquered New York last year and why he is the only Australian to be included in next month's Monterey Down Under gala."

I think that Mr. Nolan, when he uses the term "cutting edge", has something substantially different in mind to the sense in which most jazz enthusiasts have used the term for some years. What do you understand by the term "cutting edge"? I'd be glad to have your views.

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11. Two View of James Morrison While on the subject of Hugh Nolan, I can't help but notice the deep division between him and the Sydney Morning Herald's jazz critic Gail Brennan on the merits of the James Morrison LP. In a review headed "Morrison's dizzy heights", in the Daily Telegraph (22/9/88), Mr Nolan draws attention to Morrison's "superlative work" and, as quoted above, obviously believes that Morrison's appearances in New York in 1987 and his engagement for the Monterey Festival Down Under in October, 1988, are ample proof of his current ascendancy in Australian jazz.

SMH jazz critic Gail Brennan, AKA John Clare: he describes James Morrison as "a gifted, if sometimes vulgar mimic"…PHOTO CREDIT JAMES ALCOCK Gail Brennan, however, offers a somewhat different view. In a review headed "When brass is short of class" (SMH, August 30, 1988), Mr Brennan describes Morrison as "a gifted, if sometimes vulgar mimic". He finds it unfortunate that Morrison's "status has been engineered to give the impression that others with more to say are also- rans." Mr Brennan gives muted praise to the first track on the LP, but says that "the rest is the sort of fusion music you might hear over an ABC filler of sunlight glittering on the harbour". Mr Brennan finds "some pleasant lines" in the compositions by Morrison and the American Gary Dial, as well as "some very banal ones", and despite Morrison's "exceptional ability", he writes, "one only wonders if there is not, deep down, a certain shallowness". I hope that I'm not doing an injustice to either Hugh Nolan or Gail Brennan by quoting them out of context. But, I wonder: are people in the jazz world more likely to endorse Mr Nolan's views, or Mr Brennan's views?

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12. Changes at The Performing Arts Board. I have just become aware of a significant change in the process by which grants are approved at the Performing Arts Board of the Australia Council. Traditionally, grant applications were assessed by committees, which made recommendations to the Board itself. (This was the procedure when the old Music Board existed). Usually the Board rubber-stamped the recommendations of the Assessment committees, but Board members were able to contest such recommendations. Now, the final grant decisions are made by the committees themselves, with the exception of larger annual grants to organisations. For the jazz world, this means that it’s important that persons who have knowledge and expertise in Australian jazz, and have the skills to participate in committee work, are able to sit on such assessment committees in the future. The Jazz Co-ordination Association of NSW Inc accordingly, in mid-1988, made two recommendations to the Board for membership of 1989 assessment committees: Ted Nettelbeck (SA) and Bruce Johnson (NSW). The Association, as yet, has received no reply from the Board regarding these recommendations. However, I understand that Sylvan (Schmoe) Elhay, an outgoing member of the Board, has been asked to continue on assessment committees in 1989, in order to provide some continuity with 1988 committees. This is good news, as Dr Elhay has the full confidence of jazz communities around Australia.

Adelaide’s Sylvan (Schmoe) Elhay: asked to continue on assessment committees in 1989, but not re-appointed to the Performing Arts Board itself…PHOTO COURTESY OXFORD COMPANION TO AUSTRALIAN JAZZ

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The bad news, however, is that Dr Elhay was not re-appointed to the Board itself. The new Board comprises the following members: Mr Anthony Steel AM (Chair) NSW Professor Warren Bebbington Qld Ms Angela Chaplin SA Ms Kathryn Lowe-Hendricks SA Mr Tassos Ionnides Vic Mr Richard Mills Qld Mr Duncan Ord WA Ms Jill Smith Vic 1 x Vacancy (yet to be filled)

This means that, for the first time for many years, the particular Board which is responsible for funding the art form of jazz in Australia, does not have a member who has knowledge and expertise in Australian jazz. While this may or may not be a major concern, can the Australian jazz world be confident that, when the Board determines its policies and priorities from time to time, that the interests of jazz will be given fair and equitable consideration?

13. Performing Arts Board's New 'Programs of Assistance' Booklet

The Board has now circulated a draft of its new 'Programs of Assistance' booklet, which will come into operation in 1989, for grants awarded in 1990. I have already circulated this document to the other jazz co-ordinators, and the members of the National Jazz Co-ordination Advisory Committee and the Committee of the Jazz Co- ordination Association of NSW. If you would like to read this document, with a view to making comments on it, please contact me, and I may be able to send you a copy pronto. But, time is short. The Director of the Board, Chris J Mangin, is inviting such comments by no later than Tuesday, October 4L 1988.

It is interesting to note that, as the result of the Board's rationalisation of the many grant programs which existed under the old Music and Theatre Boards, the programs in the future have been reduced to five major grant programs, as follows:

Professional Development Commissioning and Creative Development Performance Community Programs Developing Resources and Communication

14. Australian Jazz Orchestra (AJO)

Editor’s note: this newsletter concluded with hard copy of an article on the Australian Jazz Orchestra's visit to the United States in April, 1988, which I wrote for the August, 1988, edition of 2MBS:FM, the magazine of that radio station. It can be read on this website at this link https://ericmyersjazz.com/essays.

In the next newsletter I will offer some comments on the Australian Jazz Orchestra project, in view of the developing myth, propounded by ideologues in the jazz world

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Rear L-R, , 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 who are looking for evidence to reinforce a particular world-view - ie those who opposed the Australian Jazz Orchestra from the start - that the AJO was not worthwhile, and should never have happened. In the light of the AJO's substantial achievements, I feel that this is an extraordinary view, and feel I need to oppose it.

15. Creation of Jazz Gigs in Adelaide by SA Co-ordinator

One of the aims of this newsletter is to increase awareness of the achievements of the jazz co-ordination programs in various States. In the next newsletter, scheduled for October 10, 1988, I will include information on the activities and achievements of the SA Jazz Co-ordinator, Peter Thurmer.

______The Jazz Co-ordination Program is funded by the New South Wales Government (Office of the Minister for the Arts) and the Performing Arts Board of the Australia Council, the Federal Government's arts funding and advisory body.

(NB. The views expressed in this newsletter are those of the National Jazz Co- ordinator Eric Myers (above), and are not necessarily the views of the Jazz Co- ordination Association of NSW, nor of the National Jazz Co-ordination Advisory Committee.]

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