“Ultimately my aim was to investigate the type of rule-based composition strategies that were pretty new to me at the start of the project, while allowing plenty of space for the guys to do their thing and bring it all to life.”
Steve Barry’s recent writing has evolved a highly individual and idiosyncratic language that colours the logic of his melodic line. Harmonically he has become even more adventurous, and rhythmically he plays with time and the stretching of time in truly eye and ear-opening ways.
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. […]
On the strength of his eponymous debut album, Steve Barry, I get the feeling we will have to do as we did with the Finn brothers and Rusty Crowe (and any other frighteningly talented Kiwi) and willingly refer to him as the Australian pianist and composer Steve Barry. The album really is that good.
“I don’t wait to be asked to join a band that plays a style that I am interested in – I just put one together myself. It’s extremely hard work keeping it all going but very rewarding at the same time.”
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.
” This year’s Festival program was put together smartly by Jazzgroove to get all the flavours of jazz rubbing up against each other and to pleasantly jolt by contrast.”
From the media release “Inverno is a collection of tunes I have written over the past few years that hold a common aesthetic. I’ve always […]
Jazzgroove Christmas party and fundraiser. Three sensational bands performing on 2 December 2014 at Foundry616 in Sydney.
“When Jackson first recorded – with the subtle and distinctive Trio Apoplectic – I was not the only one who found a surprising echo of the floating lyricism, unusual intervals and limpid sound of Paul Desmond…”