“I’m particularly interested in the jazz-fusion side of the music, (particularly Prince’s collaborative project with Eric Leeds, Madhouse, and also the Family, now known as FDeluxe) and I look for ways to marry the sophistication of jazz with the groove and danceability of party funk.”
Hers is a naturally musical voice aided and abetted by impeccable pitch and an ability to move through registers effortlessly. Clancye Milne’s jazz sensibilities are strong and she phrases with the maturity of a jazz singer twice her age, with just a whisper of Blossom Dearie.
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AustralianJazz.net and the Paris Cat Jazz Club join forces to celebrate International Jazz Day 2018. Melbourne’s longest-standing jazz club and Australia’s premier jazz website team up to co-curate a jam session, inviting members of Melbourne’s jazz community to join in and play together. Firebrand pianist Adam Rudegeair will lead a house band of luminaries, featuring bassist Claire Cross and drummer Adam Donaldson, with a series of guests sitting in – everyone is welcome!
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The duality of the MFG’s European and Australian identities is also manifested in their playing, with Maas and Goralski weaving a delicate and intricate harmonic net around Gemma Farrell’s direct, robust melodic lines.
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On Friday 20 and Saturday 21 April, Panorama do Brasil will feature Alda Rezende, Brazil ‘s unofficial ambassador to Australasia, presenting a tribute to Os Afro Sambas, one of the seminal albums of Brazilian music, showcasing the genius of Baden Powel and Vinicius De Moraes.
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“My favourite music (especially swing) exists where the band is on the edge of falling apart or going for things that then they have to navigate a way out of. When you play with people you trust musically, this isn’t scary, it’s exciting and brings out the best in you as a musician and improviser.”
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“It’s been an interesting experience as a band, because we’ve been able to interact directly with the dancers and that’s been fantastic. They are part of the band. The most interesting thing for me is the interaction between the front line players and the dancers. Musicians are starting to solo differently and think about their solos, anticipating what the dancers will do; and you can see the dancers anticipating the instrumentalists as well. It’s an interesting process, I think we’re at the beginning of something.”
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– When did you realise that you have found your own voice as an artist?
– I feel that my individual voice started to really become solidified on my previous CD, ‘Rush’. I hope to keep refining it.
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Recorded with two different Andy Sugg Groups in those two darkly glittering Gothams of jazz, New York and Melbourne, the eight tracks on Tenorness span the breadth of the tenors expression in modern jazz.
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– If your life was to become a movie, which tune would be on the end credits?
– Five Days In Hermosa, by this Canadian jazz musician named Mike Field. It’s another fun tune, and it’s instrumental so it would work really well for end credits. I wrote this tune because every time I’d travel on tour from Canada to New Zealand and Australia, I’d stop through Los Angeles and would play at The Lighthouse Cafe in Hermosa Beach. It’s such an iconic club with so much jazz history, and even though there’s a lot of karaoke and reggae bands playing there these days, there’s still jazz three days a week. Each time I was there, it would take me about five days to rehearse with the band and play the show, so after doing that a bunch of times, it inspired this tune, which I ended up recording on my third album.
