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NATIONAL JAZZ CO-ORDINATION NEWSLETTER No 7, September 26, 1988 Writer, Editor: Eric Myers ______1

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NATIONAL JAZZ CO-ORDINATION NEWSLETTER No 7, September 26, 1988 Writer, Editor: Eric Myers ______1 NATIONAL JAZZ CO-ORDINATION NEWSLETTER No 7, September 26, 1988 Writer, Editor: Eric Myers ________________________________________________________ 1. International Students Big Band 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 Australian jazz. 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 1 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. 2 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 Polish Jazz 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 3 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 4 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. 5 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.
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