I love playing for festival crowds. Everyone has taken time out and is immersed in music for a few days and there is a lot of energy in that fact. I’m looking forward to telling my story with jazz guitar and enjoying the opportunity to play alongside the other top young players in the country. From what I know of the other guys, everyone is a monster player and expresses a diverse representation of the broad ‘jazz guitar’ genre.
There’s perhaps more of Sheens the Downbeat poll-winning pianist this time out but significantly Untranslatable ups the ante compositionally, with the Yanni Burton String Quartet leaving an indelible stamp on a third of the tracks.
Alex says: “I always love these opportunities to come back to my country, whose influence filters into my music in so many ways. It has also directly inspired several of my compositions, most recently the Place to Be track ‘Cuttagee, Wapengo’, which comes from fond memories of the NSW Far South Coast.”
Applications open Are you a Victorian jazz composer under the age of 35? PBS 106.7FM and the Melbourne International Jazz Festival are delighted to announce […]
One day I came across a jazz guitar lesson and I enjoyed it so much that I made a decision then and there that I wanted to play jazz. I think it was a ‘moment’. Jazz and I had a ‘moment’. Haha
Magnusson describes his latest project, Kinfolk (with Tim Neal on Hammond organ, Dave Beck on drums and Frank DiSario on bass), as ‘kind of rootsy’, reflecting the fact that he grew up playing the blues. ‘It’s not like I’m trying to start a blues band, but I love the colours of those sorts of grooves,’ he adds.
Colin [Elmer, Angus’ teacher] explained that ‘jazz’ was an extremely broad term and that eventually I would find an artist that I connected with. A few CDs later I was introduced to Wes Montgomery. This was the game changer. From that moment on, I was hooked on jazz.
Each year since 2005, in the month leading up to the jazz festival in Wangaratta, Miriam Zolin interviews the finalists in the National Jazz Awards. […]
Inevitably, the different currents converge and the trio voice flows freely. Unrelenting cymbal and bass bomb patterns, sawing arco and swirling piano create a heady maelstrom, with Abrahams alternating sharply between staccato patterns fashioned by two and then ten fingers.
The jazz thing started in high school for me. I remember one morning in roll call, a very close friend showed me a recording of Pat Metheny playing ‘Have You Heard’. I was about 13 and had really only been flirting with the guitar up until then. Magic! I was instantly addicted to it.