DOCSLIB.ORG

NATIONAL JAZZ CO-ORDINATION NEWSLETTER No 5, May 30, 1988 Writer & Editor: Eric Myers, National Jazz Co-Ordinator ___

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
NATIONAL JAZZ CO-ORDINATION NEWSLETTER No 5, May 30, 1988 Writer & Editor: Eric Myers, National Jazz Co-Ordinator ___ NATIONAL JAZZ CO-ORDINATION NEWSLETTER No 5, May 30, 1988 Writer & editor: Eric Myers, National Jazz Co-ordinator ________________________________________________________ 1. Stop Press: Death of Ricky May Sadly, I record the death of Ricky May, who died suddenly of a massive heart attack at the Regent Hotel, Sydney, in the early hours of June 1, 1988, shortly after receiving a standing ovation from a capacity audience at the Don Burrows Supper Club. He was 44 years old. Ricky May: a much-loved figure in the entertainment industry…PHOTO CREDIT EDMOND THOMMEN Ricky was a much-loved figure in the entertainment industry, and everyone will have his or her own favourite Ricky May story. On this sad occasion, let me merely quote from a review I wrote in The Australian on November 7, 1986, on the occasion of another Ricky May opening night at the Supper Club: "His opening performance at the Don Burrows Supper Club was vintage Ricky May: as always, a mixture of inspired chaos and great music... [He] is intrinsically a great jazz singer, but this is a season of cabaret rather than jazz. However, May takes the 1 listener quickly and easily into the frame of mind where one feels the pulse of the music. It is a precious ability. "Add his razor-sharp wit, an enormous capacity to send himself up as well as the audience, and his unquestioned ability to produce great music, and you have a compulsive mixture. It's one of the best entertainments in town." Ricky May (in white jacket) & Friends, L-R, Steve Murphy (guitar), David Glyde (sax), Col Loughnan (sax), Keith Stirling (trumpet), Herbie Cannon (trombone)…PHOTO CREDIT EDMOND THOMMEN I know that many people will wish to send their condolences to Ricky's wife Colleen, and their daughter Shani. Their address in Sydney is: 93 Elliott St, Balmain NSW 2041. Ricky May: a razor-sharp wit, and an enormous capacity to send himself up as well as the audience… 2 2. Australian Jazz Orchestra to Perform in Sydney The AJO's Australian tour, Stage II, begins on June 11, 1988, with a concert at the Melbourne Concert Hall. Project Manager Peter Brendlé has just announced that the AJO will now perform in Sydney: on Monday, June 13, at 5 pm - a special "sunset" concert - at the Sydney Town Hall. This will be the only performance by the AJO in Sydney in a concert hall during the Bicentennial year. Previous performances at The Basement in February naturally drew audiences of mere jazz club proportions. The Town Hall performance will give more than 2,000 Sydney jazz fans an opportunity to hear the AJO fresh from its successful visit to the United States. The AJO's full itinerary in June, 1988, is as follows: June 11 Melbourne Concert Hall June 12 Flight to Sydney June 13 10 am, Ray Martin Show, TCN Channel 9 5 pm, Sydney Town Hall June 14 Gladstone City Theatre, Qld June 15 Townsville Civic Theatre, Qld June 16 Kuranda Amphitheatre, Via Cairns, Qld June 17 Mackay Entertainment Centre, Qld June 18 5 pm, Brisbane Performing Arts Centre*; 8.15 pm, Brisbane Performing Arts Centre* June 19 Brisbane Performing Arts Centre* The Australian Jazz Orchestra, 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 three concerts in Brisbane are for World Expo 88. 3 The AJO project is financially supported by the Australian Bicentennial Authority and Philip Morris Australia, managed by Peter Brendlé Enterprises, and administered by the Jazz Co-ordination Association of NSW Inc. 3. Increased Jazz Activity in Tasmania In a State like Tasmania, where there is very little jazz activity - only two or three professional groups are active throughout the whole State, I understand - the State jazz co-ordinator obviously has a difficult job. Without the infrastructures that exist in other States, almost every initiative is a pioneering effort. Yet, the Tasmanian Jazz Co-ordinator Alf Properjohn can take major credit for a number of encouraging developments which will quicken the pulse of Tasmanian jazz in 1988. Chief among these is his concentration on encouraging visits by leading musicians and groups from interstate. The Sydney trumpeter John Hoffman will be in Tasmania in September, 1988 for three weeks, working in the schools. This came about through Alf's approach to the Dept of Education, which is funding the visit in partnership with the Performing Arts Board. Alf assisted with the applications, gathered the relevant information, and later organised the itinerary which will take Hoffman to Hobart, Launceston and Burnie. John Hoffman, here on flugelhorn: in Tasmania for three weeks, working in the schools…PHOTO COURTESY AUSTRALIAN JAZZ MUSEUM 4 The coming visit of John Pochée's group Ten Part Invention in September, 1988, was another of Alf's initiatives. Alf suggested that responsibility for the group's visit be shared by the Tasmanian Conservatorium of Music, the Salamanca Arts Festival, and the Jazz Action Society of Tasmania. Also, at Alf's urging, the Tasmanian Arts Advisory Board came in with a guarantee-against-loss, and a number of small sponsorships, including one from the Musicians Union, were secured. Ten Part Invention, L-R, Steve Elphick, Bob Bertles, Bernie McGann, Sandy Evans, Paul McNamara, Ken James, Miroslav Bukovsky, John Pochée, Warwick Alder, James Greening… In fact, Alf Properjohn has done extremely well in securing packages of corporate sponsorship. Motors Pty Ltd, Holden dealers, for example, have sponsored a visit by the Sydney reeds player Paul Furniss, to perform at the Salamanca Arts Festival with pianist Ian Pearce. In June, 1988, the Phil Treloar group Feeling To Thought will be artists-in-residence at the Tasmanian Conservatorium of Music. This group includes Treloar, drums; Mark Simmonds, tenor saxophone; Dave Ades, alto saxophone; and Steve Elphick, double bass. While Alf does not claim all the credit for this development, he advised and assisted with the venture, and it looks as if his suggestion that the Treloar group be invited to perform in Burnie for the North West Community College and the North West Jazz Action Society will be taken up. These ventures will certainly have an effect. Add visits by the American saxophonists Richie Cole and Scott Hamilton; another visit by Paul Furniss to be special guest at the St Helens Sunshine Coast Jazz Festival in June, the formation of the new Launceston Jazz Club, and a vigorous new committee elected by the Jazz Action Society of Tasmania - most of which have had the benefit of the jazz co-ordinator's 5 A visit by Feeling To Thought, led by Phil Treloar (above) and Paul Furniss (below) to be special guest at the St Helens Sunshine Coast Jazz Festival… Initiatives which have benefited from Tas Jazz Co-ordinator Alf Properjohn’s involvement… PHOTO CREDITS TRELOAR (JANE MARCH); FURNISS (PETER SINCLAIR) involvement - then there is solid evidence that Alf Properjohn's jazz co-ordination program is having a major influence in Tasmania. 6 4. Loss of Jazz Venues in Sydney There is increasing concern in Sydney at the closure of venues which have provided employment for jazz musicians for many years. The most overground of these is, of course, The Basement, which closes in mid-June, 1988. That venue is the victim of so-called "redevelopment", with the building to be demolished. There is, however, a parallel phenomenon which is forcing city hotels to put off live groups: the NSW Government's inability to grant entertainment licences to hotels which fail to satisfy certain requirements. According to an article in the Sydney Morning Herald on May 23, 1988, amendments were brought in to the Liquor Act in 1985, relating to "methods of egress, fire-retarding materials, sprinklers, fire hoses, combustible materials, carpets, wall materials and so on." [Editor's Note: "egress" = "going or coming out".] This means that many hotels, in order to secure an entertainment licence, are required to undergo renovations. But most small hotels, with low incomes, cannot afford such renovations. So, they cannot get an entertainment licence, which means that the live musicians have to go. The latest hotels to cease live entertainment are the Star Hotel, where the New Zenith Jazz Band played for the last three years, and the Civic Hotel. The Gresham Hotel, adjacent to the Town Hall, has been sold, and the licence transferred - this venue will become a bank. The Goulburn Club Hotel, the Forbes Tavern Hotel and the Glasgow Hotel have, I'm told, been sold to developers; all of them have had live groups on from time to time in the past. So, it appears that this situation has developed into a crisis for Sydney jazz musicians, particularly the traditionalists who tended to work in these establishments. Tom Wood, pianist and manager of the New Zenith Jazz Band, which had played at the Star Hotel for three years…PHOTO CREDIT DR R BYLER 7 In order to get essential information which might throw light on, this problem, I have written to the Chief Secretary, asking for clarification of the requirements for an entertainment licence, and pointing out that the Government's laws are materially affecting the employment of scores of jazz musicians. 5. Recent Australia Council Funding Decisions The Performing Arts Board of the Australia Council recently released its results for grants in the following programs: Composer Commissions, Composer-In-Residence, Recording, Publishing, Community & Regional Music Co-ordination, Visiting Teachers/Music Camps, Artists-In-Schools, Innovative Projects, and Improvement of Arts Management. The closing date for applications under all these programs was November 15, 1987.
Load more

Recommended publications
  • VJAZZ 67 AUG 2015 Proactively Collecting, Archiving and Disseminating Australian Jazz
    VJAZZ 67 AUG 2015 ISSN: 2203-4811 Proactively Collecting, Archiving and Disseminating Australian Jazz Distribution 650 QUARTERLY MAGAZINE OF THE AUSTRALIAN JAZZ MUSEUM. FOUNDING PATRON: The late WILLIAM H. MILLER M.A., B.C.L. (Oxon.) 15 Mountain Highway, Wantirna Melway Ref. 63 C8 (All correspondence to: PO Box 6007 Wantirna Mall, Vic. 3152) Registered No: A0033964L ABN 53 531 132 426 Ph (03) 9800 5535 email: [email protected]. Web page: www.ajm.org.au VJAZZ 67 Page 2 Letters to the Editor Contents 02 Letters to the Editor Dear Editor, 03 He’s the Drummer Man in the Band I am really overwhelmed about both articles, (Vjazz 66) the layout of it and how By Bill Brown you appreciate Coco Schumann. He will be very happy to read that he is not for- 04 The Museum’s 100-year-old Recordings gotten Down Under. As soon as I have the printed version I will forward it to him. I By Ken Simpson-Bull didn't know that you will use the photo with us, so I was flabbergasted to see this 06 Research Review - A Searing Sound young couple with Coco on p.7 :-) By John Kennedy OAM Well done, you did a great job, Ralph. 07 News from the Collection Jazzily By Ralph Powell Detlef 08 Visitors to the Archive 10 Instrument of Choice Dear Editor Oh So Beautiful Your members might be interested to know that Jack O’Hagan’s story and music 11 Two Studies in Brown is being brought back into focus. By Bill Brown I am near to completion of my grandfather Jack O’Hagan’s biography.
    [Show full text]
  • Top 40 Singles Top 40 Albums
    23 February 1992 CHART #798 Top 40 Singles Top 40 Albums Smells Like Teen Spirit Don't Talk Just Kiss The Commitments OST The Globe 1 Nirvana 21 Right Said Fred 1 Various 21 Big Audio Dynamite Last week 2 / 6 weeks BMG Last week - / 1 weeks FESTIVAL Last week 1 / 6 weeks Platinum / BMG Last week - / 1 weeks SONY Rush Cream Nevermind We Can't Dance 2 Big Audio Dynamite 22 Prince 2 Nirvana 22 Genesis Last week 1 / 9 weeks SONY Last week 12 / 14 weeks WARNER Last week 2 / 11 weeks Gold / UNIVERSAL Last week 22 / 11 weeks Gold / VIRGIN Remember The Time Turn It Up Waking Up The Neighbours Blood Sugar Sex Majik 3 Michael Jackson 23 Oaktowns 3.5.7 3 Bryan Adams 23 Red Hot Chili Peppers Last week - / 1 weeks SONY Last week 18 / 9 weeks EMI Last week 4 / 18 weeks Platinum / POLYGRAM Last week 19 / 16 weeks WARNER Justified And Ancient Pride (In The Name) From Time To Time Mr Lucky 4 The KLF 24 Coles & Clivilles 4 Paul Young 24 John Lee Hooker Last week 11 / 4 weeks FESTIVAL Last week - / 1 weeks SONY Last week 3 / 6 weeks Gold / SONY Last week 24 / 19 weeks Gold / VIRGIN Let's Talk About Sex Is It Good To You Shepherd Moons Full House 5 Salt N Pepa 25 Heavy D & The Boyz 5 Enya 25 John Farnham Last week 5 / 17 weeks POLYGRAM Last week 48 / 6 weeks BMG Last week 5 / 11 weeks WARNER Last week 16 / 7 weeks Gold / BMG Remedy Martika's Kitchen Achtung Baby Armchair Melodies 6 The Black Crowes 26 Martika 6 U2 26 David Gray Last week - / 1 weeks WARNER Last week 24 / 7 weeks SONY Last week 8 / 10 weeks Platinum / POLYGRAM Last week 31 / 3 weeks BMG Don't
    [Show full text]
  • Paul Grabowsky
    PAUL GRABOWSKY SELECTED CREDITS DAISY WINTERS (2017) THE MENKOFF METHOD (2015) WORDS AND PICTURES (2013) EMPIRE FALLS (2005) THE JUNGLE BOOK 2(2003) (Original Songs, Lyrics – “Jungle Rhythm”, “W-I-L-D”, “Jungle Rhythm (Mowgli Solo)”) BIOGRAPHY Paul Grabowsky is a pianist, composer, arranger and conductor, and is one of Australia’s most distinguished artists. Born in Papua New Guinea in 1958, Paul was raised in Melbourne where he attended Wesley College. He began classical piano lessons at the age of five, studying with Mack Jost from 1965-1978. He began informal studies in jazz around 1976, and fully devoted his energies to improvised music from 1978. During the 70’s he became prominent in the music scene in Melbourne, working in various jazz, theatre and cabaret projects. He lived in Munich, Germany from 1980-1985, where he was active on the local and European jazz scenes, performing and recording with Johnny Griffin, Chet Baker, Art Farmer, Benny Bailey, Guenther Klatt, Marty Cook and many others. He returned to Australia in 1986. In 1983, he formed the Paul Grabowsky Trio, winner of four ARIA awards and one of Australia’s longest-living and most influential jazz ensembles. He has also won two Helpmann awards, several Bell awards and a Deadly award. He was the Sydney Myer Performing Artist of the year in 2000, and received the Melbourne Prize for Music in 2007. As a performer, he became known for his work with the ‘Wizards of Oz’, a group he co- led with saxophonist Dale Barlow from 1987-1989 and Vince Jones, for whom he was musical director in 1988-89.
    [Show full text]
  • Annual Financial Report 30 June 2020
    Australasian Performing Right Association Limited (a company limited by guarantee) and its controlled entity ABN 42 000 016 099 Annual Financial Report 30 June 2020 Australasian Performing Right Association Limited and its controlled entity Annual Report 30 June 2020 Directors’ report For the year ended 30 June 2020 The Directors present their report together with the financial statements of the consolidated entity, being the Australasian Performing Right Association Limited (Company) and its controlled entity, for the financial year ended 30 June and the independent auditor’s report thereon. Directors The Directors of the Company at any time during or since the financial year are: Jenny Morris OAM, MNZM Non-executive Writer Director since 1995 and Chair of the Board A writer member of APRA since 1983, Jenny has been a music writer, performer and recording artist since 1980 with three top 5 and four top 20 singles in Australia and similar success in New Zealand. Jenny has recorded nine albums gaining gold, platinum and multi-platinum status in the process and won back to back ARIA awards for best female vocalist. Jenny was inducted into the NZ Music Hall of Fame in 2018. Jenny is also a non-executive director and passionate supporter of Nordoff Robbins Music Therapy Australia. Jenny presents their biennial ‘Art of Music’ gala event, which raises significant and much needed funds for the charity. Bob Aird Non-executive Publisher Director from 1989 to 2019 Bob recently retired from his position as Managing Director of Universal Music Publishing Pty Limited, Universal Music Publishing Group Pty Ltd, Universal/MCA Publishing Pty Limited, Essex Music of Australia Pty Limited and Cromwell Music of Australia Pty Limited which he held for 16 years.
    [Show full text]
  • CONTEMPORARY MUSIC at the MUSEUM by Eric Myers ______[This Article Appeared in the Weekly Magazine Called “MAGAZINE” on January 2, 1983]
    CONTEMPORARY MUSIC AT THE MUSEUM by Eric Myers ________________________________________________________________ [This article appeared in the weekly magazine called “MAGAZINE” on January 2, 1983] he Phil Treloar concert at the Australian Museum next Sunday will be one of the most interesting and unique events in contemporary music in T this city for some time. Treloar is one of Australia's most distinguished jazz drummers. He has been appearing recently at Jenny's Wine Bar & Bistro with various groups including Roger Frampton's Intersection, Guy Strazullo's In Focus, and occasionally with the Bernie McGann Trio. Phil Treloar: composing in an area which is jazz-related, but can more properly be described as avant-garde contemporary music… PHOTO CREDIT PETER SMETANA But Treloar is not only a sideman. Over the last few years he has branched out into composition. His works are not confined to orthodox jazz as we know it. He is composing in an area which is jazz-related, but can more properly be 1 described as avant-garde contemporary music. His compositions will interest contemporary classical music fans as much as they will appeal to those who like contemporary jazz. Treloar has had few opportunities to present his original music. But when he does, they are usually memorable events. In a season at The Basement in mid- 1982 I remember well an extraordinary performance of his work in three movements Primal Communication, a musical interpretation of the therapy process described by Arthur Janov in his book The Primal Scream. Arthur Janov: he inspired Phil Treloar’s work “Primal Communication”… In December, 1982, at St Stephen's Church in Newtown, Treloar and his colleagues produced another thrilling evening of original music, which included the first two movements of his four-movement work See IS, entitled Hymn To The Creator Of All and Children Of Creation.
    [Show full text]
  • MOONTRANE PROVIDES SOME JAZZ ACTION by Eric Myers Jazz Action S
    MOONTRANE PROVIDES SOME JAZZ ACTION by Eric Myers ______________________________________________________________ Jazz Action Society concert February 6, 1980, Musicians’ Club Encore Magazine, March, 1980 ______________________________________________________________ his concert was opened by two sets provided by the John Leslie Trio, including the leader on vibraharp, Gary Norman (electric guitar) and T Richard Ochalski (acoustic bass). Their music consisted of jazz and popular music standards in swinging 4/4 tempo: Jerome Kern's All The Things You Are, Horace Silver's Opus de Funk and Doodlin', Oliver Nelson's Stolen Moments, Clifford Brown's Joy Spring etc. Richard Ochalski, bassist with the John Leslie Trio… These sets were mainly distinguished by the fluent playing of Gary Norman, who appears to be an impressive new addition to the ranks of Sydney jazz guitarists. He swings easily, and employs a nice vibrato at the end of his long notes, enabling the guitar to sing, in a style not unlike that of the American guitarist Larry Carlton. There was a hint of unease in John Leslie's playing, which appeared a little hurried and up on the beat, although this tendency was less apparent by the closing stages of the trio's second set. Inevitable sameness: The music played by this group suffered from an inevitable sameness, as the format adopted for each tune was, if I remember correctly, exactly the same: statement of theme, a solo from each player, then return to the theme. Bass solos are a welcome contrast, but in every tune? Without a drummer to provide some rhythmic drive and a few extra colours, this group played a little too long, which meant that Bob Bertles' Moontrane 1 was not able to start until 10.30pm.
    [Show full text]
  • ROGER FRAMPTON and the RESURGENCE of CREATIVE MUSIC by John Clare* ______
    ROGER FRAMPTON AND THE RESURGENCE OF CREATIVE MUSIC by John Clare* ________________________________________________________ [This article appeared in the Winter/Spring 1984 edition of Jazz Magazine.] Image of Roger Frampton drawn by John Clare… azz, whether or not it once meant sex, became a non-specific word, like Dada. Unlike Dada, which is forever attached to an art movement of a particular time, J its meaning could change with context and inflection. In certain contexts it has had a similar meaning to Dada: an approach to art which elevated the unexpected, the irrational; which played with the rules; which was crazy. Crazy, man, crazy. Man, that music’s gone. _____________________________________________________ *When this was written in 1984, John Clare was writing on various subjects, including jazz and contemporary music, for the Sydney Morning Herald. 1 At various times, languages of the irrational have sprung up around it, some of which were later revived by the rock movement. Crazy instruments have been enlisted: glass tumblers and rubber plungers for mutes; cow bells, woodblocks, washboards and even suitcases for percussion. Each new jazz style has had elements which seemed bizarre to those who had grown accustomed to the preceding style. Ironically, the discarding of hitherto novel instruments seemed perverse to old fans — because those bizarre elements had become an accepted part of an accepted formula. And that’s how it goes. It seems that new ways have to be found of courting the subconscious. But a forgotten style can suddenly re-emerge, all clothed again in weird light. There are musicians who play in the one idiom all their lives, but never cease to find illuminations there.
    [Show full text]
  • Introduction
    Introduction In January 1997, two Sydney Morning Herald journalists produced a brief account of what they perceived to be the most important rock and roll sites in Sydney.1 Their sense of the city's rock histories extended to places of local mythology well beyond popular music's production and consumption: five star hotels as frantic sites of adoration of the Beatles ensconced within; psychiatric hospitals where career paths merged with psychosis; and migrant hostels as sites of cross-cultural ambitions. The article was a rare acknowledgement of the spaces and places of performersand fans' interaction. This thesis constitutes an extended response to the article's implicit desire to recognise alternative accounts of Australian popular music connected to broader city narratives. In analysing the rock music venues of Sydney as sites of interaction between musicians, fans and government, I am principally concerned with three interrelated themes: • The social construction of live performance venues from 1955 amidst the parallel construction of the performer and fan as an 'unruly' subject; • The industrial development of live performance: the live rock venue within commercial/economic structures; and • The dialectical tension of the above in reconciling the state's desire for manageable 'cultural citizens' with broader cultural policy (support for live rock and roll within arts policies). A more detailed explication of these strands is undertaken in Chapter One, in providing a theoretical overview of relations between popular culture and the state, and specific media/cultural/popular music studies approaches to cultural practice and policy. My personal interest in the histories of live rock venues parallels an increased 1 Jon Casimir and Bruce Elder, 'Beat streets - a guide to Sydney's rock and roll history', Sydney Morning Herald, 9th January, 1997, pp.29-30.
    [Show full text]
  • MUSIC IS an OPEN SKY by John Clare
    MUSIC IS AN OPEN SKY by John Clare ____________________________________________________ [This review appeared in the July/August, 1977 edition of Jazz Down Under] ublic holidays hacked into April's Basement edition of Music Is An Open Sky festival, and broke the extraordinary feeling of continuity which had linked P each Monday and Tuesday to the next during earlier editions of this important event. What remained were isolated peaks as memorable as those of the first festival, some quite acceptable plateaus, and the reassurance that Australian jazz is still moving in several directions at once. Dave Levy's trio opened the festival and they remain in my memory as one of the best things heard. The playing of bassist John Ryan left no indelible impression on me, but he held his end up, and that, with pianist Levy and drummer John Pochée in brilliant form, was all that was needed. Pochée is not only a unique stylist; he is one of the most versatile and supremely able musicians in the country. Think of the number of contexts in which he seems to be the best drummer for the job —from the loose fierce energy surges of The Last Straw to the showbiz dynamics of backing The Four Kinsmen. The Four Kinsmen (pictured above) have cracked the LA and Las Vegas entertainment scene, and their drummer John Pochée made a big impression on American musicians… The Kinsmen have cracked the LA and Las Vegas entertainment scene, and Pochée made a big impression on American musicians. It is time we too stood up and recognized this large talent.
    [Show full text]
  • Keith Stirling: an Introduction to His Life and Examination of His Music
    KEITH STIRLING: AN INTRODUCTION TO HIS LIFE AND EXAMINATION OF HIS MUSIC Brook Ayrton A thesis submitted in partial fulfilment of requirements for the degree of M.Mus. (Performance) Sydney Conservatorium of Music University of Sydney 2011 1 I Brook Ayrton declare that the research presented here is my own original work and has not been submitted to any other institution for the award of a degree. Signed:…………………………………………………………………………… Date:………………………………………………………………………………. 2 Abstract This study introduces the life and examines the music of Australian jazz trumpeter Keith Stirling (1938-2003). The paper discusses the importance and position of Stirling in the jazz culture of Australian music, introducing key concepts that were influential not only to the development of Australian jazz but also in his life. Subsequently, a discussion of Stirling’s metaphoric tendencies provides an understanding of his philosophical perspectives toward improvisation as an art form. Thereafter, a discourse of the research methodology that was used and the resources that were collected throughout the study introduce a control group of transcriptions. These transcriptions provide an origin of phrases with which to discuss aspects of Stirling’s improvisational style. Instrumental approaches and harmonic concepts are then discussed and exemplified through the analysis of the transcribed phrases. Stirling’s instrumental techniques and harmonic concepts are examined by means of his own and student’s hand written notes and quotes from lesson recordings that took place in the early 1980s. 3 Acknowledgements Many thanks go to the following individuals for their thoughts and reflections on matters in the study and their remembrance of a time when Australian jazz music was prolific in the popular culture of this country.
    [Show full text]
  • February Jazz Night
    DOWN SOUTH JAZZ CLUB PRESENTS öCHASING CHET A JOURNEY\ THROUGH THE STYLE & SONGS OF THE LATE GREAT CHET BAKER FEATURING BEN MARSTON (TRUMPET) LACHLAN COVENTRY (GUITAR) JAMES LUKE (BASS) WHERE & WHEN AT CLUB SAPPHIRE THURSDAY 18th FEBRUARY 0 1 $15 JA$$ CLUB MEMBERS, $ 0 VISITORS MUSIC STARTS AT 7.30 PM Bookings ma1 be made with Kevin7Aileen on 64959853, at [email protected], or at door on the night (Clu2 2istro opens at 5.30 pm) On Thursday 18th February, at Club Sapphire, the Down South Jazz Club has great pleasure in presenting "Chasing Chet", with a journey through the style and songs of the late Chet Baker. The music of Chet Baker has always fascinated audiences. At the heart of his playing there was a fragile lyricism that was somehow sophisticated, yet raw and untrained. His performances often teetered on a knife edge and coupled with his unpredictable personal life it is easy to understand this fascination. Now we have the chance to experience a taste of this music as three of Canberra's finest musicians combine to examine the music of his later career. In the format of a drum-less trio, a combination often used by Baker, trumpeter Ben Marston, guitarist Lachlan Coventry, and bassist James Luke re-imagine some of the great standards of the twentieth century. With references to Chet Baker, Doug Raney, Niels-Henning and Ørsted Pedersen, the trio provide a clear vision of lyrical melodies, rich harmonic colourings and occasional virtuosic punctuation. Timeless music treated in a respectful yet contemporary way Born in Canberra, Ben began playing the trumpet at age 9, playing in the primary school band.
    [Show full text]
  • 2019 — — — — — ––– Program
    2019 —————––– Program JOIN US JOIN WANT THE ULTIMATE MIJF EXPERIENCE? MIJF Membership will get you closer to the action, whether jazz is your newest passion or your life-long love. Our Members get access to invitation-only events, priority seating, pre-sales, tickets, swag, special offers and more! As a MIJF Member you are also supporting the future of the VISIT Festival. As a not-for-profit organisation, we raise more than MELBOURNEJAZZ.COM 70% of our income from non-government sources – including TO SIGN UP TODAY. initiatives like this one. Membership costs only $55 per calendar year, or if you’d like to share the joy with your jazz bestie, a double membership is $100. This entitles you to: • Access to invitation-only events and other events throughout the year ACKNOWLEDGEMENT • Exclusive member prices to selected events • Priority booking period before the program OF COUNTRY launch for MIJF events • Priority entry to general admission shows at Melbourne International Jazz 170 Russell and The Jazzlab Festival acknowledges the Traditional Owners of the land • Exclusive pre-sale opportunities for MIJF on which our Festival takes place, special events and we pay our respects to their • Special offers from our partners Elders past and present. • Your very own jazz merchandise. Disclaimer This program is accurate at the time of printing. Please check our website melbournejazz.com for latest program Questions? and ticketing information. Email [email protected] or call 03 9001 1388. 2 WELCOME Jazz is a way of life – my way of life. the MIJF is contributing to a very strong It's such an honour to be the Melbourne tradition that we can pass on into the international Jazz Festival's Artistic future.
    [Show full text]