“This project deals with subjects that were big issues in America from the ’30s to the ’70s and the female singers at that time raised their voices, trying to change things with their singing. If some people may have been thinking that these issues were solved nowadays, Donald Drumpf’ s America and the #metoo movement show that it’s not the case. So by covering these songs, we raise our voices too, and keep on trying to open consciousnesses with music, which is our only weapon.”
One thing I’ve learned, while I was doing my homework, was that Australia’s first jazz band – literaly trading as ‘Australia’s First Jazz Band’ was formed in Sydney in 1918 by Belle Sylvia. So this year, we’re not only celebrating the centennial of Australian jazz, but also 100 years of female leadership in Australian Jazz. Not a bad legacy for a scene.
“When you think of Bob Marley or Peter Tosh and their music, it’s a snapshot of what the political landscape is, they’re saying: this is the world we live today; wouldn’t it be better if it was a better place? I think that’s the question that I want to raise in my music.”
“I’m a big fan of electronic music and electronic pop, and I feel the Kennedy Snow music is headed in a very textural direction, with improvisation being probably the strongest jazz element present, rather than traditional jazz harmony or the swing aspect. But then again, jazz these days can be so many things that I struggle to label it as ‘jazz’, just that all the members have a jazz background.”
“Giving a label to music is difficult for me. I would rather give insight into the music by explaining ‘Provenience’ as a series of improvised responses based upon thematic material written within a standard song form framework.”
“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.”
There are not many singers around whose name is always mentioned alongside Aretha Franklin’s and this is pretty much all anyone needs to know about Ann Vriend’s timbre, but you may know all that, already.
“I had no desire to have a band under my name,that has only emerged with the CD, with permission from the other members. I firmly believe in the collective spirit and contribution of all in which music can be performed and I think that in this instance that is a good part of resultant album.”
Built on an elusive melody by Lisa Young, ‘Thru the Still Trees’ is flowing, going to every direction possible – or impossible. An open-ended song, it is the perfect vehicle for Market Lane to manifest their improvisational skills and interact with their idol, their voices intertwined to the point that, by the end of the song, what you hear is the sonic equivalent of a congregation of clouds against a multi-colour sky.
“I wrote a song as a dedication to this particular genre of song and to Johnny Mercer, it’s called ‘Last Call’.
It’s a great thrill for me that I recorded the song with orchestra in studio A at Capitol Records in Los Angeles, the studio where Sinatra recorded so many saloon bar songs, and Johnny Mercer was one of the founders of Capitol Records. That’s poetry in action.”