“For this project I felt like it wouldn’t be fulfilling for the audience or musicians if we just attempted to play Bjork’s music the way she has produced it, especially for a jazz festival! There has to be something fresh, intriguing, experimental or risky involved for it to make sense to me. I guess this is what we will strive towards presenting some amazing music that we all know and love with a new perspective and sound and room for everyone involved to get their individual voices across.”
“While we are both very different players, I think we both are similar in the fact the we like to approach improvisation with honesty and aim to be ourselves at all times. We are also both drawn to the same kind of repertoire and inspired by similar artists.”
“Festivals are great opportunities to create different kind of experiences,” Chelsea Wilson explains. “A lot of jazz venues in town do not have the stages or infrastructure to be able to do something like that, so were very fortunate to have Chapel Off Chapel as a festival hub this year; it has lots of space for the bands to explore.”
“I had to distinguish myself as an artist, having grown up in the era of Ella and Sarah and Betty. I couldn’t do what they did as well as they did it, so I found my own voice, my own truth.”
“The broader aim of the Jazz and Social Justice project is to demonstrate the power of jazz as a force for justice, freedom and creativity. Jazz artists have used their music and profile to spotlight injustices since the Civil Rights era. The program I have put together shares the stories and music of jazz artists from 1930s to the modern day who have taken a stand for social justice issues including racial, religious and marriage equality and environmentalism.”
“I’m particularly interested in the jazz-fusion side of the music, (particularly Prince’s collaborative project with Eric Leeds, Madhouse, and also the Family, now known as FDeluxe) and I look for ways to marry the sophistication of jazz with the groove and danceability of party funk.”
The duality of the MFG’s European and Australian identities is also manifested in their playing, with Maas and Goralski weaving a delicate and intricate harmonic net around Gemma Farrell’s direct, robust melodic lines.
On Friday 20 and Saturday 21 April, Panorama do Brasil will feature Alda Rezende, Brazil ‘s unofficial ambassador to Australasia, presenting a tribute to Os Afro Sambas, one of the seminal albums of Brazilian music, showcasing the genius of Baden Powel and Vinicius De Moraes.
“My favourite music (especially swing) exists where the band is on the edge of falling apart or going for things that then they have to navigate a way out of. When you play with people you trust musically, this isn’t scary, it’s exciting and brings out the best in you as a musician and improviser.”
“It’s been an interesting experience as a band, because we’ve been able to interact directly with the dancers and that’s been fantastic. They are part of the band. The most interesting thing for me is the interaction between the front line players and the dancers. Musicians are starting to solo differently and think about their solos, anticipating what the dancers will do; and you can see the dancers anticipating the instrumentalists as well. It’s an interesting process, I think we’re at the beginning of something.”