“Studying jazz fostered a strong sense of mindful listening and interaction within a group, nurtured my creativity through improvisation and composition and allowed me to explore various parameters within music which have crossed over into my own writing and singing.”
Month: October 2016
Tim Rollinson’s ‘Nitty Gritty’ calls to mind John Scofield’s enormously successful Scofield Au Go Go of a few years back and in many ways comes from the same place: a love of groove and the improvisational ideas which flower from the deep earth of funk
Sean Foran: “In the studio recording for ‘Frame of Reference’ we played the whole thing completely live”
“I recorded ‘Frame of Reference’ in London over two days with the band coming together for the first time at the session. I’d never really worked in that way before, so it certainly brought some new pressures to the whole thing, but also gave the recording a great intensity and focus.”
Tony Zawinul: “It was never my intention to recreate or imitate my dad’s playing, with Zawinul Legacy”
“It was never my intention to recreate or imitate my dad’s playing, with Zawinul Legacy; in essence there is only one Joe Zawinul, and I let the music do the talking.”
Georgie Darvidis: ‘Performing tragedy is a very personal thing to have to call on in front of people’
“When I think to myself ‘what do I do’, I say ‘I’m an artist and a lecturer’; when I introduce myself, I say ‘I’m a vocalist, a composer and a teacher’ and then it gets confusing, because I have to explain what I mean and I usually just run away”, she laughs.
‘Comes Love’ is a snapshot of what you’ll hear at one of my gigs, favourite songs sung with two of my favourite musicians; there was no theme in mind other than sharing some lovely songs in a natural way, and I believe that’s how it sounds.
Shannon Barnett: “The Wangaratta Jazz Festival shows what a lively bunch of people our community can be”
“I grew up looking up to musicians like Andrea Keller and Sandy Evans, because I could see that they had their own bands, were writing their own music and were totally accepted and respected by the jazz community. I saw that it was possible to have a career in music.”
I am happy to say the new Divergence Jazz Orchestra album – cheekily and tartly titled ‘Fake It Until You Make It’ – is here. And I want to shout about it.
As assured and fully-formed as ‘The Opening Statement’ was, the three years between it and the new one has added an even greater depth and daring to Jenna Cave’s writing and the band’s entirely apt and sympathetic reading (in all senses) of her charts.
“I feel lucky to have wandered into the position of doing a job that I enjoy and find rewarding, and to do it for so many years. The highlight has probably been having the chance to work with so many musicians who I hold in such high regard ; to propose or develop projects with them ; and then to see it all come together onstage, to be met with such generous approval by the audience.”