“We are celebrating the 50th anniversary of the Art Ensemble of Chicago; 1969 to 2019 and beyond,” says the restless percussionist, promising that today, as always, the band stays true to its motto – and legacy:GREAT BLACK MUSIC / ANCIENT TO THE FUTURE.
Two interviews with Marc Hannaford who is currently touring Australia with his New York Trio. In the first one, the brilliant pianist talks about his life in New York, and his current musical pursuit. In the second, he remembers his trio with Allan Browne and Sam Pankhust, documented in the album Monday Dates.
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“We’re trying to convey the heart of Australia with dream-like sequences alongside landscape depictions and animal mimicry, and echoes of tribal lores, drawing on a myriad musical influences and aiming to create a unique and authentic soundscape.”
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“Often songs disappeared from theatrical shows for bizarre reasons, or shows closed because they were eclipsed by another show on Broadway that had the ‘it’ girl in it. Life is often completely random and beautiful songs often fall into obscurity. I like to find them.”
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“Sometimes people just assume that I am not a “serious” musician by my look. I usually play outrageous stuff and vibe them out.”
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The Outsider reflects an on-going commitment to building a body of work intent on exploring the great tradition of the piano trio, as epitomized by the work of artists such as Bill Evans, Keith Jarrett, Brad Mehldau, the Esbojrn Svensson Trio, or The Necks.
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“We both share similar music philosophies when playing live music, in that as Jazz musicians, we have to listen to each other and dynamically create some music in the moment of performing and go off the chart. Its about taking risks – and that’s where the joy is.”
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My intention for this short essay film was to create a pacey montage of archive footage, photographs, memorabilia and interviews with musicians and key personalities to reveal the unsung story of St Kilda’s significant contribution to Australia’s jazz history.
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“The Ball Hanlon Schulz trio is a vehicle for developing pieces that, while fundamentally about facilitating improvisation, sit more in the chamber music world than the jazz paradigm. Of course, neither of us are denying our ‘roots’ – there are pieces in the repertoire that are, in essence, jazz ballads, for instance – but the trio is a space for us to try out ideas that don’t necessarily fit in the context of the music made by some of the other ensembles with which we perform.”
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A montage of Australian jazz history snapped through the lens of Melbournes famous bayside destination, St Kilda, and the significant cultural legacy of its music venues.
