On the eve of the 2013 Kinetic Jazz Festival (22-27 January) Phil Sandford spoke to two of the artistic directors, Graham Jones and Jepke Goudsmit, about their background and their vision for the festival.
‘That’s the thing about this music,’ Nock adds, ‘you can’t just write it without the musicians. It’s who you’re writing for. One of the things that I am really trying to do with the piece is to show that it is a living music in that it depends on the people playing it.’
He remains only interested in musicians who ‘slam their heart down on the table, and go, “There I am!”‘
In an Arts scene that’s eternally struggling with funding constraints and the drudgery of applications to funding bodies, the idea is seductive: take control of your own funding and free yourself from that disempowering application / rejection cycle you’re forced into via the more traditional funding rounds.
A sudden noise that wakes you in the night. A shadowy movement glimpsed down a darkened alley. The sensation that there might be someone in the room with you. Waiting. Conjured into life by Tamara Saulwick’s riveting solo performance and Peter Knight’s visceral score.
‘…we might fall on our arses once or twice, but it’s often when you’re searching that the best things happen…’
Marc Hannaford releases two digital recordings – a quintet release called ‘Ordinary Madness’ and a trio release ‘Sarcophile’. We ask him ‘why digital?’ and talk about the music…
Mike Nock has released a new CD Hear and Know on his own FWM label. We spoke to him about the CD and his other […]
The story of Emma Franz’s debut film follows jazz drummer Simon Barker’s journey and describes his fascination with, and search for, the music of South Korean Shaman drummer Kim Seok-Chul, the Intangible [cultural] Asset No. 82 of the film’s title.
Collected Works bookshop in the Nicholas Building in Swanston Street in Melbourne was the venue for our first jazz poetry reading this year. The bookshop […]