Horst Liepolt’s motivation to support Australian jazz was never fiscal. “I did it because I had a good time doing it,” he says. “I loved doing it, I loved Australia, and I loved my buddies.”
Gregg Arthur looks like he’s auditioning for a James Bond film – both for the leading role and the theme song.
Each year, the Australian Jazz Museum receives hundreds of hours of music left behind by the switch to online – recordings by giants of Australian jazz not to be found on iTunes or YouTube, locked away in gradually decaying vinyl and plastic
From the ’20s to the ’60s, St Kilda venues ranged from grand ballrooms and dance halls to cabarets, coffee lounges and clubs. Some of the buildings were stunning examples of architecture, reflecting periods of Melbourne’s social and cultural wealth. They hosted major international artists of the era, as well as providing a hub to showcase local musicians and foster the emergence of new jazz styles.
Growing as a performer, she distilled her experiences into songs, culminating to the release of her album Sunny One Day a seamless blend of soul, funk, jazz, rnb and rock sounds that is still her trademark.
Our survey respondents said news, profiles and interviews were their favourite types of content on AustralianJazz.net. So even though many musicians say ‘the music should speak for itself’ even musicians will acknowledge that the stories behind the music and about the music are important. Which is why we do what we do. Just sayin’
Nikos Fotakis has been helping us out at AustralianJazz.net and is taking over responsibility for the site. We subjected him to one of our famous Q&As!
Think big, dream large etc. This is an opportunity for you to stretch yourself creatively. Looking back at previous winners of the commission, we have all tried something very new to us and used the commission to test uncharted waters. The MJFF Commission is no place to play it safe.
by Tilman Robinson In recent weeks much focus has been given to the and decision by the Music Board of Arts Victoria to cut funding […]
He had nothing more than a grant of $3000 and a vision for nurturing creative and experimental jazz performance and composition. The Melbourne Jazz Co-operative announced its arrival with a concert at RMIT’s Glasshouse Theatre on the Australia Day weekend in 1983 with a Sunday afternoon concert. On the bill was the Paul Grabowsky Tro, making its debut, with the young Grabowsky on piano, the late Gary Costello on bass and Allan Browne on drums.