“As far as music goes, I reckon I sound like me, and no one else, that’s really what I feel good about. I have a long way to go still, plenty more to explore and learn, but having your own sound and being recognised by it is surely what I feel is most important, other than not sounding like shit. “
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“When you’re playing with someone you admire, you might be worried if they’re enjoying what you’re playing – or if you might not live up to their expectations”.
The Foundry 616 Harris & Mary Ann Streets, Ultimo, Sydney. 3 September 2014 Review by John Clare Walking from Glebe to the relatively new jazz club, The Foundry, I am tracked by various familiar resonances. Ultimo was once full of huge warehouses and bond stores, and across from the club itself, in a brick and …
Exhilaration does not fade for those who are listening rather than assuming. It builds as the bricks seem to be stacked more rapidly to form more complex percussive patterns. Or are thrown one by one through the air.
Hear Scott Tinkler talk about his musical journey, improvisation and the Australian Art Orchestra. Oh, and the panda is explained as well.
Scott Tinkler Quartet at Bennetts Lane Jazz Club, Melbourne on April Fools Day, 2005
The inaugural recipient of the award is the talented saxophonist Scott McConnachie. It will enable him to record a solo album and trio album for release later this year.
Andy Fiddes’ writing shines as bright as Tinkler’s playing. The range of colours, the breadth of ideas – so many audacious chances taken, chances that all work beautifully – the mastery of the idiom: pushing the big idea of The Big Band forward while deeply knowing its traditions (you can hear echoes of the history all across Fiddes vs Tinkler).
These magical buoyancies rise from a persistent, intricate conversation of remarkable cohesion and purpose. Propositions are advanced and tested, sometimes at the same dynamic level, sometimes breaking into sensational bursts of energy. And for long stretches it all moves beyond conversation as if three lines of counterpoint are being written simultaneously by a single composer.
Simon Barker has long been one of my favourite Australian drummers. Rest assured, he would have earned that place on the strength of his drumming in Mark Simmonds’ Freeboppers alone, without consideration of the extraordinary body of work he has produced since. For me, the Freeboppers’ album Fire (1993) remains one of the cornerstones of Australian jazz: four musicians – Simmonds, Scott Tinkler, Steve Elphick, and Barker – interlocking with a ferocious and burning intensity, their music exploding like a supernova.