For the past few weeks, Tasmania-based harpist Emily Sanzaro, has been engaged in a highly unusual project, that gives new meaning to the term ‘residency’: […] Read More
Author: Nikolas Fotakis
I've been a puppet, a pauper, a pirate, a poet, a pawn and a king.
Also a father, a husband, a writer, an editor, a coffee addict, a type 1 diabetic and an expat. Born and raised in Athens. Based in Melbourne. Jazz is my country.
“Any place can fit our music, any place can be the right place for an experience like this. The music itself creates inner spaces in each listener.”
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It’s been almost a quarter of a century since Trichotomy first ventured into their quest to explore the possibilities of the jazz piano trio formation, […] Read More
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If you are in Canberra, make sure not to miss the Street Theatre’s latest production. Creswick (a.k.a. Liam Budge) presents In His Words: Voices of […] Read More
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What makes Ally Hocking Howe’s EP ‘The Feather Came First’ a great listen is not the music itself, but the promise it carries: the promise of a great composer, and a great musician, who can mover through genres and blend elements from all sorts of sources to create something new
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“I believe the melody is one of the most important things and I want it to always be significant. When I think the composition has reached a good level of complexity without sounding pretentious, then I am happy.”
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“Morgana was a positive force in my life and gave me a lot of purpose”
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“I’m very much a bassist in the sense that for a long time I’ve been in that supportive role, playing for a variety of artists of different genres. And with that I’ve had the good fortune to travel to different parts of the world, and live in The US. That exposure to different people and different sounds I think are what I consider to be some of the highlights.”
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I first met Mina Yu at a Fem Belling performance; I was instantly blown away by her playing, her crisp sound, and the way that […] Read More
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As a matter or fact, all the ballads in the album have a high charged emotional density, without ever turning into melodrama — this is probably due to Libor Smoldas’ earthy lyricism, Jakub Zomer’s ability to create haunting sonic undercurrents, and Sacha Kloostra’s carefully timed explosions, not to mention Ingrid James’ masterful control of her instrument.
